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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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£64.00Hello - Adele Adkins & Gregory Kurstin/Haakon Esplo
Hello is a song by English singer Adele. It was released October 2015 as the first single from her third studio album, 25. Adele co-wrote the song with her producer, Greg Kurstin.Hello has achived great success wordwide, reaching no. 1 on almost every chart.
Estimated dispatch 10-14 working days
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£49.00Four Meets Seven - Patrick Millstone
The young Dutch composer Patrick Millstone is a new name in our catalogue. In this fine composition he describes the meeting of two friends with quite different personalities, the one being introvert (4/4 meter), the other extrovert (7/8 meter). The lyrical introduction suggests the quiet beginning of the conversion. By means of an almost constant alteration of both meters, the Allegro part suggests a sudden quarrel. Finally both friends are parting ... A most fine acquisition for the original concert repertoire.
Estimated dispatch 10-14 working days
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£20.00atrium phase
Descriptionatrium phase was inspired by listening to works performed at the 2013 Huddersfield Contemporary Music Festival in the atrium of the Huddersfield University Creative Arts Building. The atrium, despite being a functional area incorporating meeting areas and a cafe, has almost coincidentally evolved into a fantastic (if somewhat resonant) performance space. Performers can be positioned on three different sides and three different levels, making the atrium ideally suited to spatially separated performances of a variety of music from Gabrieli to Christian Wolff.In atrium phase the band is separated into four groups - ideally these should be positioned around the audience as follows: group A to the left of the audience, group B in front of the audience, group C to the right of the audience and group D (the four basses) behind the audience. The music "phases" between the groups in the manner of contemporary electroacoustic music, with the bass group acting as a kind of "subwoofer". Starting very slowly, the music accelerates using metrical modulations to finish at considerable speed.The music is intended to be performed without a conductor wherever possible - the three percussionists should set and control the tempo, and there are clear points of overlap for percussionists to allow synchronisation between groups.atrium phase won the inaugural Foden's Band Composition Competition in 2014 and the first performance was given on 24 January 2015 at the RNCM Festival of Brass by Foden's Band.Performance Notes:The band is separated into four groups - ideally these should be positioned around the audience as follows: group A to the left of the audience, group B in front of the audience, group C to the right of the audience and group D (the four basses) behind the audience. The music "phases" between the groups in the manner of contemporary electroacoustic music, with the bass group acting as a kind of "subwoofer". Starting very slowly, the music accelerates using metrical modulations to finish at considerable speed.Instruments in group A require cup mutes (soprano, 2 x cornets, horn, baritone, trombone, euph), group B harmon mutes (4 x cornets, baritone and trombone - the baritone should use a trombone mute) and group C require fibre straight mutes (3 x cornets, flugel, 2 x horns, euph., bass trom - NOT metal mutes if possible).Percussion instruments required are claves, wood block and 2 x temple blocks. The music is intended to be performed without a conductor wherever possible - the three percussionists should set and control the tempo, and there are clear points of overlap for percussionists to allow synchronisation between groups.Approximate duration 6'17"
Estimated dispatch 7-14 working days
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£73.00
Stealing Apples - Fats Waller - Reid Gilje
"Stealing Apples" is an old swing-tune written by Fats Waller. Performances by Benny Goodman and his big band made the song very popular.In this arrangement for brass band, the mallet percussion is very essential. Mallet Percussion presents the melody from letter A and is also featured as soli-instruments from letter L to P. These parts can alternatively be played as vibraphone solo.Please be aware of the balance at letter A. Horn and Trombones must play piano but well articulated. Letter D must sound sparkling and fresh with articulated and powerful trombones and cornets (using straight-mute).Make shue that the 8th-notes are not played too dotted two bars before letter G. Almost even 8th-notes accentuated on the start of the slur is a good tip.Watch the balance at letter H. This part have to sound homogeniously.The soloistic Soprano Cornet at letter Q must be played in the style of Benny Goodan. The accompaniment must not be too powerful from letter R to S. Best of luck with the performance!
Estimated dispatch 7-14 working days
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£73.00
Root Beer Rag - Billy Joel - Svein H. Giske
Root Beer Rag was written for the 1974 album release Streetlife Serenade by American pianist/vocalist/composer Billy Joel.After the success his own recording, several other pianists have performed it both on record and stage. There's also many arrangements of the song made, some of them featuring soloist(s).This arrangement for Brass Band by Svein H. Giske was written to Askoy Brass Band for their participation in the entertainment-competition Siddis Brass in 2016. It's very virtuosic and challenge almost all sections of the band.
Estimated dispatch 7-14 working days
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£67.00
Reminiscences - Hans Offerdal
"The past is never dead. It's not even past." - William FaulknerTo the conductor: Slurs in accompanying voices can be seen as indicating the phrasing only, thus breathing is possibe when necessary. It will be the challenge of the conductor to shape this as soft and sostenuto as possible (almost like strings), if needed assign appropriate places to breathe, depending on size and level of the band.Duration: 4 min
Estimated dispatch 7-14 working days
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£60.00
Manchester Concertino - Peter Meechan
Manchester Concertino is a concertino in three movements for trumpet or cornet. It was written in late summer/early autumn in, as the title suggests, Manchester, UK.The first movement, Fanfare, was written for Belgian cornetist Harmen Vanhoorne, and explores the main musical idea behind the piece, a minor third. The loud fanfare gives way to a cadenza over a timpani roll, before a reprise of the opening fanfare.The second movement, Dream, was commissioned by Keith Johnson and is dedicated to Jess Tredrea. It is a slow, lilting, movement - almost as if the listener was hearing the piece through a summer haze.The final movement is simply titled Finale and is dedicated to Roger Webster. New material is fused with the fanfare from the opening movement leading to a climatic finish to the work.
Estimated dispatch 12-14 working days
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£34.95Pandemic 1349 - Paul McGhee
Pandemic 1349 was written during September and October 2016 and received its premiere on Sunday 20th November at the 40th Brass in Concert Championships at the Sage, Gateshead where it received the best new composition/arrangement award. London lost almost half...
Estimated dispatch 5-7 working days
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£44.95
VARIATIONS ON A CELESTIAL THEME (Brass Band Set) - Kenneth Downie
The tune 'Bright Crowns' receives imaginative and sometimes almost whimsical treatment in this accessible, major work by a composer well versed in variation form.
Estimated dispatch 7-14 working days
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