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£34.95Unity Series Band Journal February 2018 Numbers 462 - 465
We hope you enjoyed listening to the sound files for the 2017 Unity series.If you are interested in purchasing the music, each set contains 4 of the works.Festival March - To Victory (Andrew Blyth); A quiet moment (William Himes); Rivers of Mercy (Kenneth Downie); March - Tell! (Stephen Gibson).The sets contain a score and full set of parts.
Estimated dispatch 7-14 working days
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£29.95Judd: Before The Cross
Written at the request of David Daws for his solo album The Sound of David Daws, this meditation for cornet and brass band uses the composer's own song Before the cross (The Musical Salvationist, April 1965), the first lines of which are "Before the cross I stand in fear and wonder, and see that all my sins on Thee are laid". The song was written at an early stage of the composer's career, just before commencing study at The Royal Academy of Music, London. After a brief introduction the melody is heard twice, first played by the soloist, then on euphonium and flugel horn with the soloist adding ornate counterpoint before taking up the melody once again, this time leading to a quiet and reflective conclusion.
Estimated dispatch 7-14 working days
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£29.95
BEFORE THE CROSS (Cornet Solo with Brass Band Set) - Edward Gregson
Written at the request of David Daws for his solo album The Sound of David Daws, this meditation for cornet and brass band uses the composer's own song Before the cross (originally published in The Musical Salvationist, April 1965), the first lines of which are Before the cross I stand in fear and wonder, and see that all my sirs on Thee are laid. The song was written at an early stage of the composer's career, just before commencing study at The Royal Academy of Music, London. After a brief introduction the melody is heard twice, first played by the soloist, then on Euphonium and Flugel Horn with the soloist adding ornate counterpoint before taking up the melody once again, this time leading to a quiet and reflective conclusion.
Estimated dispatch 7-14 working days
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£29.95Before The Cross (Cornet Solo with Brass Band - Score and Parts) - Gregson, Edward
Written at the request of David Daws for his solo album The Sound of David Daws, this meditation for cornet and brass band uses the composer's own song Before the cross (originally published in The Musical Salvationist, April 1965), the first lines of which are Before the cross I stand in fear and wonder, and see that all my sirs on Thee are laid. The song was written at an early stage of the composer's career, just before commencing study at The Royal Academy of Music, London. After a brief introduction the melody is heard twice, first played by the soloist, then on Euphonium and Flugel Horn with the soloist adding ornate counterpoint before taking up the melody once again, this time leading to a quiet and reflective conclusion.
Estimated dispatch 7-14 working days
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£24.95The Pearl Fishers Duet (Deep Inside the Sacred Temple) - Georges Bizet - Robert Childs
Bizet's opera, The Pearl Fishers, has the exotic setting of a quiet fishing village on the island of Ceylon in the time of antiquity. The plot revolves around best friends Zurga and Nadir, who swear an oath of friendship, vowing...
Estimated dispatch 5-7 working days
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£74.99
On the Movieset Brass Band (Score & Parts)
Glitter and glamour, good-looking people, a lot of Bling Bling and fast cars - images like these will cross our minds when we think of the movie world. However, reality proves to be different : as a rule, a tremendous amount of work will have been done on the set before a film is ready to be shown on the big screen. A visit to an actual movie set inspired John Emerson Blackstone to write a composition bearing the same name. He had both seen a number of characteristic attributes and heard the typical phrases used in film making, and he incorporated them into 'On the Movie Set' . In the first part, 'The Clapboard', a 'director's assistant' is supposed to shout "Quiet on the set'" and "Action!", as is done before a real scene is shot. Subsequently, in order to create the right atmosphere, the clacking of a 'Clapboard' should be heard. During a romantic scene we should be transported to another world by means of sweet sounds in the background, so romantic music is of course heard in the next part, 'Love Scene'. At the end of a long working day 'It's a wrap' is called on the set to inform everyone that the filming on that day is completed. Now there is only one more thing left to dream of : an Oscar..... Perf. Note: The use of the right props will add to the performance and appreciation of 'On the Movie Set'. A red carpet and a glamorous reception should give your audience the feeling they are attending a real 'opening night'! 09:30
Estimated dispatch 7-14 working days
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£74.99Cornet Concerto No.1 - Jonathan Bates
My 'Cornet Concerto No.1' was composed for Lode Violet and Brass Band Willebroek in 2018 and features 2 movements, entitled 'Dystopia' and 'Utopia'. . The nature of the music in the opening section, 'Dystopia', is very jagged, disjointed and unsettling, as the soloist almost battles against the constant churning of the mechanical accompaniment, trying to persevere with it's own ideas and styles without being dragged into conforming to it's surroundings. The movement is based largely on the 3 note interval heard right at the outset of the piece (C, D & G#, a series of notes that lends itself so well to different modes, scales, harmonies and intervals) and this forms much of the rhythmic and harmonic structure of the opening section.Whilst this movement acts as a virtuoso feature to demonstrate the extended capabilities of both the soloist and instrument, I feel the accompanying ensemble plays an equal role in the narrative of 'dystopia', and features a number of demanding and prominent episodes for soloists within the accompanying band. A short and heavy coda concludes the movement, with a sense of real pain and sorrowfulness as the music fades away into darkness. . 'Utopia' opens in an instantly more hopeful nature, with the soloist introducing the first real 'theme' of the movement, taken up shortly by the accompaniment. Throughout this movement, there are a number of timbral and melodic references back to the darkness of 'dystopia', but transformed into a much more positive outlook and soundworld. There is a moment of quiet reflect (using the initial 3 note cell as a basis) before flying head first into a frenzied wild 'tarantella' like section, full of joy and energy which tests the dexterity and light-natured approach to virtuosity (much unlike the heavier material in the 1st movement) of the soloist. Primarily, the concept of this finale is fun - joy, happiness, and freedom from restraint, so the addition of a quirky 'tongue-in-cheek' habanera section offers a brief moment of respite from the craziness of the tarantella. To conclude the work, there is an extended cadenza for the soloist which is built on several motifs heard throughout the concerto, which leads the band into a dramatic and energetic final few bars.. Jonathan Bates. (2018). .
In Stock: Estimated dispatch 1-3 working days
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£44.00Hymns at Heaven's Gate (Score only) - Elgar Howarth
A flourish: a crowd assembles at the gate of Heaven, saints and sinners. As in a film the immensity of the crowd is illustrated, and the camera zooms to focus onparticular groups and individuals. Monks sing a 'medieval' hymn, interrupted by the fanfares of mischievous seraphim; gradually the whole crown join in. The fanfares grow wilder, and grubby, naughty children enter, singing mock fanfares, making jazzy gestures and trying to sing a chirldren's hymn. They are joined by roughnecks who take up the fanfare idea. The camera zooms again at the entrance of Jesus. A commanding flourish causes consternation. Separate groups react, interrupted by mysterious percussion effects. Then, as the whole panorama explodes in sound, William Booth (founder of the Salvation Army) approaches awestruck. A triple Alleluia is followed by the third hymnand further Alleluias. A dance finale begins using material from the whole piece. A tumultuous climax preceds sudden quiet Alleluias, and the crown exits into Heaven to the music of the monks, reharmonised and transformed. The camera shots extend to the heavens and the stars. Duration: 15:00
Estimated dispatch 7-9 working days
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£56.00Hymns at Heaven's Gate (Parts only) - Elgar Howarth
A flourish: a crowd assembles at the gate of Heaven, saints and sinners. As in a film the immensity of the crowd is illustrated, and the camera zooms to focus onparticular groups and individuals. Monks sing a 'medieval' hymn, interrupted by the fanfares of mischievous seraphim; gradually the whole crown join in. The fanfares grow wilder, and grubby, naughty children enter, singing mock fanfares, making jazzy gestures and trying to sing a chirldren's hymn. They are joined by roughnecks who take up the fanfare idea. The camera zooms again at the entrance of Jesus. A commanding flourish causes consternation. Separate groups react, interrupted by mysterious percussion effects. Then, as the whole panorama explodes in sound, William Booth (founder of the Salvation Army) approaches awestruck. A triple Alleluia is followed by the third hymnand further Alleluias. A dance finale begins using material from the whole piece. A tumultuous climax preceds sudden quiet Alleluias, and the crown exits into Heaven to the music of the monks, reharmonised and transformed. The camera shots extend to the heavens and the stars. Duration: 15:00
Estimated dispatch 7-9 working days
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£9.95Second Quartet (Brass Quartet - Score and Parts)
My second Brass Quartet was written in 1968, immediately after I finished my studies at the Royal Academy of Music, and was in response to a request from my then publisher, R Smith & Co, to write some chamber music for brass band instruments. My Brass Quartet No 1 (also written in 1968) was scored for the usual combination of two cornets, horn and euphonium, but the second is scored for two horns, baritone, and tuba, giving the music a somewhat mellower sound world than the First Quartet. It is also a miniature in form in that it barely lasts six minutes. The music is in three movements: Prelude, Scherzo and Postlude. The outer movements are slow and thoughtful, while the middle Scherzo is rather astringent in character, with virtuoso demands made on the players. The Prelude begins with a duet for the two horns, answered by baritone and tuba, the material being rather rhetorical in style and although the Postlude begins in a similar fashion it also develops material from the Scherzo (slowed down of course) in the manner of a fugal exposition. The music ends with a series of quiet chords. - Edward Gregson
Estimated dispatch 7-14 working days
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