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£54.20Mr Blue Sky
Sun is shinin' in the sky, there ain't a cloud in sight - what a fabulously catchy song, one your band will love to play, and one your audiences are sure to love!
Estimated dispatch 7-14 working days
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£19.95Mythical Tales (Brass Quintet)
Mythical Tales (2012) is a ten minute work in three movements which represents three of the most popular folk stories or indeed in the case of the first movement, true stories, in Welsh culture.I. Owain GlyndwrOwain Glyn Dwr was born around the 1350s into an Anglo-Welsh gentry family. His estates provided him with a modest power base in north-east Wales. After a number of disputes, he proclaimed himself prince of Wales in September 1400.Glyn Dwr led several battles with the English, although he was never captured. Over the next few years punitive measures were enacted to keep control of Wales, but these were matched by many acts of Welsh rebellion - among them the capture of Conwy Castle in April 1401. In June 1402, at the Battle of Pilleth on Bryn Glas Hill, Glyn Dwr led his troops to victory over an English army. By now Glyn Dwr was leading a national revolt. In 1404, he led a march towards Wocester, but failed, with the English capturing parts of Wales. He died defending his country.II. MyfanwyMyfanwy was the most beautiful woman in Powys, but she was vain and liked nothing better than to be told how beautiful she was. Many handsome men would court her, but she would not show interest because they couldn't sing and play to her, reflecting her true beauty.Luckily, a penniless bard, Hywel ap Einion was in love with Myfanwy, and one day plucked up the courage to climb up the hill to the castle with his harp, to sing and play to her. He's allowed in to play for her, and while he's playing and complimenting her on her beauty she can neither listen nor look at any other man. Because of this Hywel believes that she has fallen in love with him. But his hopes are dashed when a richer, more handsome and more eloquent lover comes along. The music of the second movement portrays the despair and upset that Hywel must have felt.III. Battle of the DragonsMany centuries ago when dragons roamed the land, a white ice dragon descended on a small village and decided to live there, not knowing that a red fire dragon was already living nearby.Six months later the red dragon awoke to find a huge white dragon wrapped around his village that he cared for. He could tell that his people were ill from the cold. The Land was bare; nothing was able to grow not even the pesky dandelions. The people were starving. The people longed for the red dragon to free them from the icy misery, so that their life and land could return to the sunny and warm climate that it was once before.The red fire dragon challenged the white ice dragon to a single combat fight at the top of the cliff the next day. The people of the village watched in terror awaiting their fate. The red dragon beat the white dragon, and the crowd cheered with joy as the red dragon roared with triumph. The mayor of the village declared that the land should always fly a flag with the symbol of a Red dragon on it. The flag's background should be half green and half white; the green to represent the lush green grass of the land and the white to represent the ice. This way no one would ever forget what happened.
Estimated dispatch 7-14 working days
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£65.00Second Suite in F - Brass Band Sheet Music Full Score & Parts - LM602
COMPOSER: Gustav HolstTRANSCRIBED : Daniel S. AugustineA brand transcription from Holst's manuscript score for brass band.A very authentic version from the original for Military Band.Can be used as a testpiece in your next own choice contestSuitable for Section 3 bands upwardsSecond Suite in FOp. 28, No. 2 (1922)1. MarchThe "March" of the Second Suite begins with a simple five note motif between the low and high instruments of the band. The first folk tune is heard in the form of a traditional British brass band march using the morris-dance tune "Glorishears". After a brief climax, the second strain begins with a euphonium solo playing the second folk tune in the suite "Swansea Town". The theme is repeated by the full band before the trio. For the trio, Holst modulates to the unconventional subdominant minor of Bb minor and changes the time signature to 6/8, thereby changing the meter. Usually one would modulate to subdominant major in traditional march form. While Sousa, reputably the "king of marches", would sometimes change time signatures for the trio (most notably in "El Capitan"), it was not commonplace. The third theme, called "Claudy Banks",[2] is heard in a low woodwind soli, as is standard march orchestration. Then the first two tunes are repeated da capo.2. Song without Words "I'll Love My Love"Holst places the fourth folk song, "I'll Love My Love" in stark contrast to the first movement. The movement begins with a chord and moves into a solo over a flowing accompaniment. The solo is then repeated, forming an arc of intensity. The climax of the piece is a fermata, followed by a cornet pick-up into the final measures of the piece.3. Song of the BlacksmithAgain, Holst contrasts the slow second movement to the rather upbeat third movement which features the folk song "A Blacksmith Courted Me". There are many time signature changes (4/4 to 3/4) making the movement increasingly difficult because the accompaniment has a pick up on the up-beats of each measure. The band joins in on the melody around the body of the piece and are accompanied with the sound of a blacksmith forging metal with an anvil called for in the score. The final major chord has a glorious, heavenly sound, which opens way to the final movement.This chord works so effectively perhaps because it is unexpected.4. Fantasia on the "Dargason"This movement is not based on any folk songs, but rather has two tunes from Playford's Dancing Master of 1651. The finale of the suite opens with a solo based on the folk tune "Dargason", a 16th-century English dance tune included in the first edition of The Dancing Master. The fantasia continues through several variations encompassing the full capabilities of the band. The final folk tune, "Greensleeves", is cleverly woven into the fantasia by the use of hemiolas, with Dargason being in 6/8 and Greensleeves being in 3/4. At the climax of the movement, the two competing themes are placed in competing sections.As the movement dies down, a duet forms a call back to the beginning of the suite with the competition of low and high registers.The name 'dargason' may perhaps come from an Irish legend that tells of a monster resembling a large bear (although much of the description of the creature has been lost over time), the Dargason tormented the Irish countryside. During the Irish uprising of the late 18th century, the dargason is supposed to have attacked a British camp killing many soldiers. This tale aside, 'dargason' is more likely derived from an Old English word for dwarf or fairy, and the tune has been considered English (or Welsh) since at least the 16th century. It is also known as 'Sedony' (or Sedany) or 'Welsh Sedony'.
In Stock: Estimated dispatch 3-5 working days
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£24.95
OF WHOM I SING Jeg elsker Dig (Brass Band Set) - Edvard Grieg - Leonard Ballantine
The original, Jeg elsker Dig, is a plaintive love song for voice and piano with words by Hans Christian Anderson; 'You have become thought of my thought, you are my heart's first love. I love you, as no one here on earth, I shall love you through time and eternity!'
Estimated dispatch 7-14 working days
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£22.50Edward Gregson: Concertante for Piano and Brass Band
DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion. https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£77.00General Series Brass Band Journal, Numbers 2246 - 2249, August 2024
2246: Christmas Prelude - David's City (Noel Jones)In 2 Samuel 5, we read of David's anointing as King of Israel at the age of thirty, a reign that lasted for forty years. Bethlehem was known as 'David's city' because he was born there and worked as a shepherd on the nearby hills. Verses 1, 2 and 5 of Once in Royal David's City (C.C. 68) are featured in this Christmas Prelude. There are also brief references to the carols O come, all ye faithful and O little town of Bethlehem between verses.2247: Cornet and Euphonium Duet - This Kingdom (Stephen Bulla)Geoff Bullock's song, This Kingdom, has been made well known by the American gospel singer Ron Kenoly. Stephen Bulla wrote this duet for a Brass Spectacular concert held in Basel, Switzerland, in May 2019.2248: Wonder (Stephen Gibson)When we stop to consider the mystery of God's love for each one of us, its enormity can only cause us to wonder. The opening bars of this music create an atmosphere, using a rolling accompaniment underneath sustained, music and chromatic Cornets, setting the style for the entire piece. Occasional references to Albert E. Webber's chorus Can you wonder? are heard throughout.2249: O to love thee! (Michael Davis)This piece takes its title from the first verse of Francis Bottome's words, Precious Jesus, O to love thee! The introduction establishes the baroque form of a prelude which leads into the tune Glory to the lamb (T.B. 327). Following a brief interlude, the melody is passed through several sections of the band, with delicate countermelodies in the Flugel and Horns. The majestic ending eventually comes to rest on the final tonic chord.
Estimated dispatch 7-14 working days
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£102.60Cherubic Hymn of Ukraine - Yakiv Yatsynevych
Ukraine was invaded on February 24, 2022, and the world again became spectators to a conflict between unequal opponents. Once again we saw lies, injustice and brutality up close.I must admit that a feeling of powerlessness arose when experiencing this, an empty feeling of not being able to do anything useful.One early Monday morning, a few weeks into the conflict, I sat down to listen to Ukrainian music.I hardly knew any Ukrainian music, but I was familiar with the composer Mykola Leontovych, the man who composed "Carol of the Bells". He was a member of the Ukrainian liberation movement, and he was assassinated by a Soviet agent in 1921.One of his contemporary colleagues was the composer, teacher and conductor Yakiv Yatsynevych (1869-1945). He wrote church music and choral music, and I became very taken by his Hymn to the Cherubim, a part of the Orthodox Mass.I could not find any sheet music for this. But I have listened to numerous choral recordings, and I have tried to notate the music as I believe the composer himself has done originally.I chose to do the arrangement for a solo group of 4 players. These players can be placed at a distance from the ensemble, maybe on a gallery or at the back of your concert hall.The arrangement was made for Brottum Brass for their participation in the Oslo Brass Festival in April 2022.The performance in the church this particular night was met with a long-lasting silence after the last note. The warm respect, the moving response and love we felt from the audience is a memory I will carry with me for a long time.In the lyrics to this psalm, one finds the phrase:Let us now lay aside all earthly cares- John Philip Hannevik -
Estimated dispatch 5-14 working days
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£38.95Unity Series Band Journal - Numbers 490 - 493, February 2021
490: March - Resounding Praise (David Rowsell)This march features the chorus God is so good and the song Praise him! Praise him! Jesus our blessd Redeemer (S.A.S.B. 231)491: I want to live right (arr. Simon Gash)A fun setting of this popular song, the chorus I want to live right originally derives from a West Indian melody.492: Remember God is love (Ruben Schmidt)An uplifting arrangement of the Sunday School chorus When you see a rainbow, remember God is love, based on the English folk song Early One Morning.493: March - Temple 1 (Wycliffe Kortin)Featuring the songs They'll sing a welcome home (S.A.S.B. 534) and Christ the Lord is risen today (S.A.S.B. 218), this march was written for the Nairobi Central Corps' inauguration as a Temple, making it the first Salvation Army Temple in East Africa.
Estimated dispatch 7-14 working days
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£13.00
Gilbert and Sullivan Melodies - Gilbert & Sullivan - Stephens, D
Sorry Her Lot; Poor Wandering One; I Built Upon A Rock; I Cannot Tell What; Take A Pair of Sparkling Eyes; Silvered Is The Raven Hair; The Sun Whose Rays; Were I Thy Bride; In Bygone Days; Prithee Pretty Maiden and True Love; Love Is A Plaintive Song; Oh Goddess Wise
In Stock: Estimated dispatch 1-3 working days
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£70.00
A Tallis Anthem - Geert Jan Kroon
A Tallis Anthem is based on If Ye Love Me by Thomas Tallis (1505-1585). He was one of the first who set English words to the Rites of the Church of England. If Ye Love Me is a classic example of the new English anthems: mainly homophonic, but with brief moments of imitation. The opening is a triumphant version of the first homophonic phrases of the song, interrupted by a calm melody build with material from a motive from the original. The anthem is played by a quartet placed in front of the band or of stage for efect. This is followed by a more modern anthem leading to a triumphant finale.
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