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£24.50
Sobre Las Olas - Juventino Rosas - Chris Gorman
This is possibly one of the best-known tunes around the world and is speculated to heard in more motion pictures than any other song. However, if you asked someone to "name that tune", then most would probably struggle. This classic Waltz has mistakenly in the past thought to be Viennese and has frequently thought to be the work of Johann Strauss II. The music is the most famous work of the composer and has long been associated in the US with fair ground rides and trapeze artists. This arrangement of the original work by Chris Gorman makes a perfect classical "Overture" work for your concert program.
In Stock: Estimated dispatch 1-3 working days
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£29.50Top Hat White Tie & Tails - Irving Berlin - David Holling
If your band is after that stunning opener to make a sparkling impression on either the concert or contest stage, then look no further than this perfect Irving Berlin hit. Arranged by David Holling, the song was performed by Fred Astaire in the 1935 film "Top Hat". This piece has just about everything you could want from an opening item. From Swing to Waltz's and back again, the song has now become an American classic. A fantastic standalone item that allows a band to show off and also has the potential for choreography. A great item for any concert!
In Stock: Estimated dispatch 1-3 working days
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£24.50Tournament Gallop - L.M.Gottschalk - Adam Rutter
All performers love a showpiece, and if there isn't one available, they write their own. American born Louis Moreau Gottschalk was a child prodigy and became famous for writing and performing his own piano compositions. Now it's the turn of your band to show off to the crowds with a performance of the 'Tournament Gallop'. Arranged by Adam Rutter, the piece is largely marked 'Presto', though in reality, the idea was that Gottschalk would perform the work as fast as humanly possible! An entertainment special and one audiences will love.
In Stock: Estimated dispatch 1-3 working days
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£29.50Uptown Funk! - Mark Ronson & Bruno Mars - Dave Collins
Brass Bands are amongst the most versatile of instrumental ensembles. With that, comes this showcase of a piece that held its place at No.1 in the charts for 14 consecutive weeks and was nominated for 2 Grammy Awards. Following some legal matters that needed clearing up concerning the writing credits on the original single, bands have been unable to purchase this title, until now! Full of energy and life, this really is the piece for your next concert programme if you want to grab your audience's attention and be a real hit with the younger generation.
In Stock: Estimated dispatch 1-3 working days
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£29.50When Santa Got Stuck Up The Chimney - Jimmy Grafton - Naomi Styles
The thought of a trombone player getting stuck up the chimney is sure to raise a few chuckles at your Christmas concerts - particularly if dressed up! This novelty item arranged by Naomi Styles, is a great choice for bands looking for a new, light-hearted solo during the festive season this year. A relaxed Cadenza for the soloist also encourages them to strain for the notes aA" as they're stuck up a chimney! This item would also work as a Euphonium or Baritone solo. A must for all bands this year that are looking to expand their festive repertoire.
In Stock: Estimated dispatch 1-3 working days
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£24.50
Yuletide Gallop - Alan Beaumont
If your looking for something a little bit different this Christmas, look no further! Whilst most bands and audiences are familiar with the 'Post Horn Gallop', the 'Yuletide Gallop' draws on the same theme, whilst surrounding the courageous post horn calls with Christmas tunes. Arranged of course for a solo Post Horn player and band, this item is a great entertainment piece, the perfect showcase for your selected Post Horn player and band. A fantastic item not to be missed.
In Stock: Estimated dispatch 1-3 working days
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£17.50The Mansions of Glory (Score Only)
"A young, talented and tender-hearted actress was passing along the street of a large city. Seeing a pale, sick girl lying upon a couch just within the half-open door of a beautiful dwelling, she entered, with the thought that by her vivacity and pleasant conversation she might cheer the young invalid. The sick girl was a devoted Christian, and her words, her patience, her submission and heaven-lit countenance so demonstrated the spirit of her religion that the actress was led to give some earnest thought to the claims of Christianity, and was thoroughly converted and became a true follower of Christ. She told her father, the leader of a theatre troupe, of her conversion and of her desire to abandon the stage, stating that she could not live a consistent Christian life and follow the life of an actress. Her father was astonished beyond measure and told his daughter that their living would be lost to them and their business ruined if she persisted in her resolution.Loving her father dearly, she was shaken somewhat in her purpose and partially consented to fill the published engagement to be met in a few days. She was the star of the troupe, and a general favourite. Every preparation was made for the play in which she was to appear. The evening came and the father rejoiced that he had won back his daughter and that their living was not to be lost. The hour arrived; a large audience had assembled. The curtain rose and the young actress stepped forward firmly, amid the applause of the multitude. But an unwonted light beamed from her beautiful face. Amid the breathless silence of the audience, she repeated: 'My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.' This was all. Through Christ she had conquered and, leaving the audience in tears, she retired from the stage, never to appear upon it again. Through her influence her father was converted, and through their united evangelistic labours many were led to God." 1. My Jesus, I love thee, I know thou art mine,For thee all the pleasures of sin I resign;My gracious Redeemer, my Saviour art thou,If ever I loved thee, my Jesus, 'tis now.2. I love thee because thou hast first lovd me,And purchased my pardon on Calvary's tree;I love thee for wearing the thorns on thy brow,If ever I loved thee, my Jesus, 'tis now.3. I will love thee in life, I will love thee in death, And praise thee as long as thou lendest me breath; And say, when the death-dew lies cold on my brow; If ever I loved thee, my Jesus, 'tis now.4. In mansions of Glory and endless delight,I'll ever adore thee and dwell in thy sight; I'll sing with the glittering crown on my brow: If ever I loved thee, my Jesus, 'tis now. William Ralph Featherstone
Estimated dispatch 7-14 working days
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£39.91Whodunnit? Murder Mystery for Brass & Percussion (Brass Band) Karl Whelan
The composer writes: 'One of my all time favourite films is Clue (1985) based on the board game of the same name (Cluedo, if you're from the UK). Clue follows the night of six guests who are invited to a mansion for dinner. The host, Mr. Boddy is murdered, and the guests must work together to find the killer before any more lives are lost. I implore you to give it a watch if you haven't already, even if it's just for Tim Curry's magical performance as The Butler. Running at 82 minutes, the film is over before you know it. I wanted to create a similar story here with Whodunnit?, which like it's inspiration, Clue, moves at an incredible pace as it follows a dinner party, to which our guests have been invited. This work is rather dark throughout and full of intentional cliches, for which, I make no apology!' To view a rolling score video please visit www.youtube.com/watch?v=hdviJUrCvOE Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 2nd Section + Length: 6.00 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 (Suspended Cymbal**, Shaker, Drum Kit, Vibraslap) Percussion 2 (Bass Drum, Suspended Cymbal**, Wood Blocks, Tam-tam) Percussion 3 (Glockenspiel, Xylophone, Tubular Bells, Vibraphone) * Doubling on Trumpet (if possible) ** Shared
In Stock: Estimated dispatch 1-3 working days
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£34.00Edward Gregson: Postcard to Grimethorpe
DescriptionComposer's NoteI composed the original version of Postcard to Grimethorpe in 1993 at the request of Elgar Howarth, for a concert at the Queen Elizabeth Hall, London, given by the Grimethorpe Colliery Band. This was at a time when after the Grimethorpe Colliery pit closed the future of the band was in severe jeopardy. The concert was given in aid of the band, both through publicity and funding.Then in late 2022 Jack Stamp, the American composer, conductor and educator, and at that time international composer-in-association with Grimethorpe, contacted me to say that he had discovered my short piece in the band library, and asked if I might extend it for a recording he was sponsoring for the band - the repertoire to consist entirely of music specially composed for Grimethorpe.I agreed and decided to extend the piece by using the miner's hymn Gresford, as a symbolic gesture of protest at the many thousands of miners in the UK who were made redundant from their jobs. After an angular (atonal) first section, the hymn enters, softly at first, but with each phrase it becomes more powerful and insistent, ending with the final phrase triumphantly accompanied by melodic percussion (replacing the drums and cymbals of the earlier phrases, as if the band were then on the march). However, this short work ends softly and gently, as if anger has been replaced by quiet resolution and determination, looking to the future with confidence.For 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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£10.00The Once and Future King
DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!
Estimated dispatch 7-14 working days
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