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Paint It Black - Mick Jagger & Keith Richards - Len Jenkins
"Paint It Black" (originally released as "Paint It, Black") was written by Mick Jagger and Keith Richards, and first released as a single on 6 May 1966. It became the Rolling Stones' sixth number one in the UK and has remained influential as the first number one hit featuring a sitar. The song came at a pivotal period in The Rolling Stones' recording history, a time that saw the song-writing collaboration of Jagger and Richards assert itself as the principal composers of the band's original material. Its lyrics are for the most part meant to describe bleakness and depression and describe the extreme grief suffered by one stunned by the sudden and unexpected loss of wife, lover or partner. It famously plays during the end credits of the film Full Metal Jacket. Beginning in the style of an ironic minuet, which can be by-passed by starting at bar 54 where the heavy rock beat takes over, the piece is interesting and within the capabilities of 3rd or 4th section bands. For those bands with a drummer and one percussionist, an alternative percussion part is provided.
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£35.00Ascension - Lucy Pankhurst
A major work written for the RNCM Brass Festival Competition 2005, and inspired by the nature of Ascension - creating a Musical depiction of the spiritual journey towards enlightenment, sanctuary and ultimate inner peace.As aninitial muse for this work, the 'Tibetan Singing Bowl' is utilised with the Brass Band in order to represent this path to Serenity, together withBaoding Balls(Chinese Health Balls) to mark the point of Final Ascension.Programme notes from the composer, Lucy Pankhurst:Ascension is a Musical depiction of the Spiritual Journey towards enlightenment, sanctuary and ultimate inner peace.As my initial muse for this work, the Singing Bowl is utilised with the Brass Band in order to represent this path to Serenity. "Tibetan" Singing Bowls date back to the 8th Century A.D., originating in the pre-Buddhist shamanic Bon Po culture in the Himalayas and are still used in modern Monasteries. The original purpose of them still remains a mystery, with accounts stating that it is forbidden to disclose the true function of the Bowls, as the "secrets of sound" yield so much Power, that they must be kept hidden.Listening to the tones created by the Singing Bowl effectively silences the internal dialogue of the listener, making it an excellent tool for Meditation, Centering and entering trance-like states. In Buddhism, as with many cultures, sound is an important part of Spiritual Practice. There are 9 methods to reach Enlightenment in the Buddhist Doctrine ; the seventh is SOUND.These Bowls are used by Healers in a similar way to help balance the body's residual energies. The Bowls are usually made from seven different sacred metals, intended to correlate directly to the seven sacred "Planets" : GOLD (Sun), SILVER (Moon), MERCURY (Mercury), COPPER (Venus), IRON (Mars), TIN (Jupiter), ANTIMONY (Saturn). Any one Bowl can create up to seven different frequencies (tones) simultaneously. In Healing, the Singing Bowl is played whilst balanced on the palm of the hand, struck three times to stabilise the surrounding energies, before rotating the wooden "beater" around the outer circumference of the Bowl to create the "singing" effect.I have included an optional Vibraphone part (to be played with a Double Bass Bow) with Tubular Bells, to be used only in performances where a Singing Bowl cannot be acquired. However, a traditional Bowl should be used whenever possible, to create this specific and unique sound.Baoding Balls or Chinese Health Balls are also utilised in this work. Their appearance in the Music here, however, is to mark the point of Final Ascension, where the music reaches its ultimate goal. These delicate cloisonne iron Balls are said to stimulate the acupressure points on the hand, thus improving the Chi and Energy Paths (Life Force) throughout the entire body. The delicate "tinkle" produced by these spheres is hypnotic and captivating. For this reason, where no Baoding Balls are obtainable for performance, only delicate metallic percussion should be used in replacement (i.e. Crotales, Antique Cymbals or (liberal) single strikes on a Triangle etc.). Bell Trees, Wind Chimes and Cow Bells should not be used.As in many cultures, the number three is important in Ascension, as it represents not only the purification from the Singing Bowl, but also it is a number of confirmation, reiterated throughout the music in the metallic percussion in addition to the Brass, re-affirming the correct path to Enlightenment.
In Stock: Estimated dispatch 3-5 working days
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£67.97Pyrenean Carol Suite (Brass Band) David Taylor
This attractive suite for brass band by David Taylor features five traditional carols from the Pyrenees region of Spain, as follows: i. Nadal Tindaire (Jingling Christmas) - Occitan traditional This Occitan Christmas song tells of musical instruments used to celebrate the Nativity - 'fifes and trumpets, timpani and pipes, or you, clear little bells, along with the angels' choir.' ii. Gabriel's Message (Birjina Gaztetto Bat Zegoen) - Basque traditional The most widely-known of the chosen carols, honouring Jesus's mother Mary, this is often sung in its English version, but the melody came from the Basque country. The Basque words were adapted from the Mediaeval song Angelus ad Virginem. Here, we feature the flugel horn. This movement was originally written on its own, with organ accompaniment, for the composer's wife, Diane Scott. iii. El Noi de la Mare (The Child of the Mother) - Catalan traditional A beautiful Catalan carol celebrating the birth of Jesus, telling of the tasty gifts that the singer would bring - 'Raisins and figs and nuts and olives; Raisins and figs and honey and mato [a Catalan dessert cheese traditionally served with honey.]' Here we feature the euphonium. The tune was made famous by guitarist Andres Segovia, who used it as a favourite encore, and by John Rutter, who made a widely-used setting for choir. iv. Paure Satan (Poor Satan) - Occitan traditional This rather unusual carol tells of the pain that Satan is put to by the arrival of the infant Jesus. Its mocking and sarcastic tone is reflected here, where the tuba soloist (as Satan) is given musical trouble throughout by the other parts. At first they conflict with the soloist, then the soloist makes overtures of friendship, which are treated with suspicion followed by contempt. The soloist finally gives in to their accompaniment (or do they?). There are plenty of opportunities for little theatrical touches here, if the tuba player is so inclined! The tuba part in this movement is notably more difficult than the rest of the music, and a number of optional changes have been marked to make the part easier to play, if so desired. The player is also welcome to add suitable extra embellishments to taste if they wish, within the character of the music. v. Fum, Fum, Fum! - Catalan traditional A favourite Catalan Christmas song for centuries, this rousing melody provides a fitting way to round off the suite, with its repeated rhythmic refrain of the nonsense title phrase. It tells of the Nativity, and then it tells of the celebratory feasting and good times that the singers look forward to to honour it. Although the suite is intended to be performed whole, it is also intended for usage with a selection of movements on occasions where a shorter piece is wanted. Suggested formats include a single movement alone (2, 3, and 5 are likely most appropriate), a pair of movements (any of the first four, plus 5), and a suite of three or four movements (1 and 5, plus one or two of 2, 3, or 4 in the middle). It is suggested that a good way to design a 'pick-your-own-suite' from the movements is to think of the earlier movements as introductory to the final movement. To view a rolling score video featuring Kidlington Concert Brass please visit www.youtube.com/watch?v=QIGdul-yxxg PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 3rd Section + Length: 9.45 minutes Instrumentation: Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass Bb Timpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£59.95Bonnie Northumbria - Brass Band - LM786
COMPOSER: Laurie JohnstonProgramme NotesNorthumberland, or Northumbria as it is also known, is the most northern county in England and has magnificent and stunning landscapes just waiting to be explored. Filled with mystical castles, atmospheric ruins and historical sites and edged by spectacular coastal scenery, there is something wonderful to see at every turn. The Devils Causeway passes through Northumbria and reaches Berwick upon Tweed at the coast. Walkers and cyclists can also take the Coast and Castles Cycle Route or the North Sea Trail which journey through some of the most beautiful scenery along the way.The Blaydon Races is aGeordiefolk songwritten in the 19th century byGeordie Ridley, in a style deriving frommusic hall. It is regarded by many as the unofficialanthemofTynesideand is frequentlysungby supporters ofNewcastle United Football ClubandNewcastle Falconsrugby club.Blaydonis a small town inGateshead, situated about 4 miles (6.4km) fromNewcastle upon Tyne, inNorth East England. The race used to take place on the Stella Haugh 1 mile (1.6km) west of Blaydon.Stella South Power Station(demolished in 1995) was built on the site of the track in the early 1950s, after the races had stopped taking place in 1916.Water of Tyne (sometimes rendered as The Waters of Tyne) is a folk song (Roud number1364) from the north-east of England. The song is sung by a girl or woman lamenting the fact that her paramour is on the opposite bank of theRiver Tyne. Sleeve notes to Michael Hunt's recording of Tyneside songs states that "the ferry is believed to be that atHaughton Castleon theNorth Tyne". Alternatively the "rough river" in the last line may indicate a point further downstream, possiblyTynemouth.The song was collected byJohn Bellin 1810 and published two years later inRhymes of Northern Bards.The Keel Row is a traditional Tyneside folk song evoking the life and work of thekeelmenofNewcastle upon Tyne. A closely related song was first published in aScottishcollection of the 1770s, but may be considerably older, and it is unclear whether the tune is Scottish or English in origin.The opening lines of the song set it inSandgate, that part of the quayside overlooking the River Tyne to the east of the city centre where the keelmen lived and which is still overlooked by theKeelmen's Hospital.Versions of the song appear in both England and Scotland, with Scottish versions referring tothe Canongaterather than Sandgate. The earliest printing was in the 1770s inEdinburghin A Collection of Favourite Scots Tunes, edited by Charles Maclean, though the tune was also found in several late eighteenth-century English manuscript collections. As the term "keel" was used both sides of the border, it has not been determined which version was the original, althoughFrank Kidsonsurmised that like many other songs collected by Maclean it may originally have been aJacobiteair from the time of the1745 rebellion. Some versions of the song make reference to a "blue bonnet[...] with a snowy rose upon it", a clear attempt to evoke Jacobite symbolism, whether dating from 1745 or not.Kidson, however, also noted that he had found the tune of The Keel Row associated with an early dance called "The Yorkshire Lad" as early as 1748.By the 19th century the tune was well associated with the River Tyne; a few years before the 1850s the keelmen had met yearly to celebrate the founding of the Keelmen's Hospital, perambulating the town to the accompaniment of bands playing The Keel Row.Dance To Thy Daddyis a traditional Englishfolksong, originating inNorth East England. An early source for the lyrics, Joseph Robson's "Songs of the bards of the Tyne", published 1849, can be found on the Farne archive. In Farne's notes to the song, it is stated that these lyrics were written by William Watson around 1826.
In Stock: Estimated dispatch 3-5 working days
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£25.00From Waterloo To The Somme - Brass Band - LM774
COMPOSER: Traditional, Rossini, Will D. Cobb & Frederic WeatherlyARRANGER: Laurie JohnstonA great collection of war songs from The Battle of Waterloo to The SommeThe four main melodies in this piece are..1 Over the hills and Far Away.This song dates back as far as Queen Anne but was popular among soldiers during the Napoleonic Wars. Probably the most well known version these days is that by John Tams from the television series Sharpe.2 The Green Hills of Tyrol.This is one of the oldest tunes played by pipe bands today although originally written by Rossini for the William Tell ballet music. Pipe major John MacLeod of the 93rd Sutherland Highlanders heard it played by a Sardinian Military band during the Crimean War and transcribed it for pipes as a tribute to the number of VC's won by Scottish regiments in this conflict. It became very well known when Andy Stewart took the tune for his song The Scottish Soldier.3 Goodbye Dolly Gray.This is a music hall song by Will D. Cobb and was popularised as a Boer War anthem. It was written during the earlier Spanish - American and held it's popularity through to the first world war.4 Roses of Picardy.Written by Frederick Wetherly in 1916 it became a very big hit with the soldiers fighting in the trenches. Picardy is a region of northern France where the Somme battlefields are to be found which among other things possibly accounts for the songs great popularity. It sold on average 50.000 copies a month during the great war.
In Stock: Estimated dispatch 3-5 working days
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£104.99Kefas - Rob Goorhuis
The composition Kefas was written for the brass band 'Apollo' from Grou (The Netherlands), by order of the Unisono Foundation, the organisation for wind music in The Netherlands.The assignment was given on account of earning the Champions Title during the Dutch Brass Band Championships in the year 2001 (4th division). The theme of the composition links the tradition of the village Grou, not to celebrate Sint Nicolaas but Sint Pieter.By this typical Dutch festivity (in December) the holy Nicolaas gives presents to the children. It is a popular custom where young and old participate. Grou is the only place where this is not done by Sint Nicolaas but by Sint Pieter.Apart from that, on the 22th of Februari, a lot of festivities that take place,resemble those of the Sinterklaas celebration. In the composition two Sint Pieter songs are processed, set through bible scenes, wherein in among others the visit of Christ to the house of Peter's Mother-in-law and the calling of Peter are depicted. The title refers to the pronouncement of Christ, where he named Peter the rock on which he shall build his church. The Hebrew word for rock is Kephas. Kefas was premiered in 2003.
Estimated dispatch 5-14 working days
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£89.95TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score and Parts) - Gregson, Edward
This work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in four versions: with brass band (1976), orchestra (1978), wind band (1984) and piano reduction.The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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£44.95
TUBA CONCERTO (Gregson) (Tuba Solo with Brass Band - Score only) - Gregson, Edward
Brass Band Score onlyThis work was commissioned by the Besses o' th' Barn Band with funds provided by the Arts Council of Great Britain. It was written for, and is dedicated to, John Fletcher, who gave the first performance in Middleton Civic Hall, near Manchester, on 24 April, 1976, with Besses o' th' Barn Band conducted by the composer. Another interesting feature about the premire was that it was recorded by BBC Television for an Omnibus programme with Andr Previn as presenter. The concerto exists in three versions: with brass band (1976), orchestra (1978) and wind band (1984).The concerto is in three movements, following the usual, quick-slow-quick pattern: Allegro deciso,Lento e mesto, Allegro giocoso. The first movement has a sonata form shell with two contrasting themes, the first one being rhythmic in character, the second lyrical. There is a reference made in passing to the Vaughan Williams Tuba Concerto, but this merges into the other material in the development section.The second movement begins with a chorale, but after the entry of the tuba it leads to a cantabile theme, softly unfolded by the soloist. The opening chorale passage returns, this time briefly on muted brass, and leads to a middle section which is more chromatic in style and soon builds to a powerful climax, where the opening cantabile theme triumphantly returns. The music subsides, returning to the opening chorale and ending peacefully.The finale is light and breezy in style, and is cast in rondo form. After a brief introduction the tuba announces the main rondo theme, which is dance-like and a little jaunty. There are two episodes: the first a broad sweeping tune, the second a slowish waltz and a little jazz-like. After a virtuoso cadenza reference is made to the very opening of the concerto before the work ends with a triumphal flourish.The Tuba Concerto has established itself as one of the main works in the solo tuba repertoire. It has been performed and broadcast in over 40 countries all over the world. There are currently six commercial recordings of the concerto in its various versions.resolution in C major, pointed by a simple but expansive melody towards which the piece has been heading, and ending in a blaze of joyful colour.Duration: 18 mins
Estimated dispatch 7-14 working days
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£120.00
Apophenia - Peter Meechan
aApophenia is the experience of seeing patterns or connections in random or meaningless data.aApophenia is a trumpet concerto in three movements written for American trumpet virtuoso Rex Richardson. Each of the three movements features a different instrument; Movement 1 is for the Bb trumpet, the second is for flugel horn and trumpet, and the third is for trumpet and piccolo trumpet.Each of the three movements of Apophenia relate to the phenomenon of viewing Dark Side of the Rainbow - a name used to refer to the act of listening to the 1973 Pink Floyd album The Dark Side of the Moon whilst watching the 1939 film The Wizard of Oz, where moments where the film and the album appear to correspond with each other.Movement 1 is a fast a furious movement. Solo and ensemble interact at high tempo, swapping and creating new ideas, leading each other in new directions. Aside from the trumpet soloist, the kit player also acts as a quasi soloist.The second movement takes its musical inspiration from the Pink Floyd song Us and Them. It is during this segment of the film that some of the most amazing moments of connection happen.The final movement is a dance - and a tour de force for the soloist who begins on the Bb trumpet, before switching to the piccolo trumpet (or Eb trumpet) for the fast and furious finale. Many of the coincidences from Dark Side of the Rainbow relate to dancing, however, as long as a piece of music is the same tempo as the original, and the time signature is a regular one, this could be the case across most films. So the composer chose to write a dance that wouldn't synchronise to too many existing dance scenes!The soloist is free to improvise their own cadenza.Apophenia is dedicated to Rex Richardson.
Estimated dispatch 12-14 working days
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£89.95Four Etudes (Brass Band - Score and Parts) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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