Results
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£30.00Aurora Awakes (Digital Download)
Aurora Awakes was composed in 2020 for Youth Brass 2000. Sometimes referred to as the Northern Lights, Aurora Borealis is a natural light phenomenon in the Earth's s ky. Predominantly seen in high-latitude regions, they are a result of magnetosphere disturbances caused by solar wind. The resulting ionisation (the process of a molecule acquiring positive or negative charge) of atmospheric components emit light of varying colour and complexity. For those of you familiar with the composer's other space inspired works , Aurora Awakes is a slow alternative, exploring the tonal colour and lyricism of the brass band rather than its raw energy. An effective contrast if you choose to programme it following either Starburst or Andromeda . Duration : 00:03:10 Grade : 3 Flexi-Score
Estimated dispatch 5-7 working days
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£20.00Canzona XIII
DescriptionCanzona XIII, also known as Canzon Septimi Octavi Toni a 12, was first published in 1597 as part of a collection entitled 'Symphoniae Sacrae' - this collection was a mixture of instrumental and choral pieces, and also included the famous Sonata Pian'e Forte, probably his best known work.Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark's Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after 'Symphoniae Sacrae' was published.Like many of his works, this Canzona was written to take advantage of the unique layout of St Mark's, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Canzona XIII has three different antiphonal 'choirs' and in this arrangement the band is split into three groups to reflect Gabrieli's innovative idea. Ideally the three groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!As Gabrieli didn't have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.This arrangement was first performed by the Coppull and Standish Band conducted by Andrew Baker in 2009.You can follow a preview of the score while listening to an audio export of the music below!
Estimated dispatch 7-14 working days
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£20.00Sonata Pian'e Forte
DescriptionSonata Pian'e Forte means an instrumental piece using soft and loud dynamics. A "Sonata" (at this time) meant a piece for instruments (as opposed to voices). It was probably written to be played as part of a service at St Mark's, Venice. This is the earliest known piece to specify both the instruments to be played AND the dynamics in the written music.Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark's Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after 'Symphoniae Sacrae' was published.Like many of his works, Sonata Pian'e Forte was written to take advantage of the unique layout of St Mark's, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Sonata Pian'e Forte has two different antiphonal 'choirs' and in this arrangement the band is split into two groups to reflect Gabrieli's innovative idea. Ideally the two groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!As Gabrieli didn't have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.This arrangement is available for full brass band or 8-piece brass ensemble andwas first performed by the Blackley Band conducted by Andrew Baker in 2004.Listen to a computer realisation and follow the score in the video below:Duration approximately 4'20".
Estimated dispatch 7-14 working days
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£12.00Ave Maria
DescriptionJohann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which approximately two hundred survive. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.Charles-Francois Gounod (1818 - 1893) was a French composer, best known for his Grand Operas, most famously 'Faust', written in 1859 and his 'St Cecilia Mass' written in 1854. However possibly his most performed work is his arrangement of the latin text Ave Maria based on a work by Bach.You can listen to a computer realisation of the score while following the music below:
Estimated dispatch 7-14 working days
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£12.00Edward Gregson: The World Rejoicing
DescriptionComposer's NoteIn searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Cruger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days
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£38.95Unity Series Band Journal - Numbers 530 - 533, June 2024
530: Carol Arrangement - God rest you merry, gentlemen (Noel Jones)This swing arrangement of the traditional English carol also features references to O come, all ye faithful (C.C. 61) and Jingle Bells (C.C. 121). Play with imagination and a sense of style!531: Go, tell it on the mountain! (Nathanael Watchorn)Historically, the passion of enslaved people in America for singing about the Gospel of Jesus is well documented, but it was men of three generations, each named John Wesley Work, who enabled spirituals to become more widely known. John Wesley Work Sr, a church choir director in Nashville, Tennessee, wrote and arranged music for the pioneering Fisk Jubilee Singers whose early repertoire consisted largely of spirituals. This passion and knowledge of spirituals was passed down through the generations. John Work III travelled hundreds of miles to collect songs by attending church services in remote areas. In 1940, he published a collection of 230 songs which included a setting of Go, tell it on the mountain! that is still performed today.Nathanael Watchorn, a Bandsman at Regent Hall Corps in London, is a new contributor to the journals. He originally wrote this as a vocal arrangement for the group FourHymn, subsequently transcribing it for the corps' Young People's Band, while he was Band Leader.532: Carol Arrangement - They all were looking for a king (Stephen Hull)At the North American Composers Forum, Major Len Ballantine challenged participants to find an unfamiliar song in the Salvation Army Song Book and try to write an arrangement of the listed tune. Stephen Hull happened across They all were looking for a king (S.A.S.B. 128) and the tune Childhood (T.B. 421) which lead to this arrangement.533: March - Washed and healed (Eiliv Herikstad)The Christian experience of many people will have been positively impacted by the life of the late Bandmaster Eiliv Herikstad, either personally or through his musical leadership and compositions. This march is the second publication from this well-known Salvation Army composer since his Promotion to Glory last year. This march is more traditional in style that many of his compositions but contains a strong Christian message and demonstrates his compositional expertise.
Estimated dispatch 7-14 working days
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£77.00General Series Brass Band Journal, Numbers 2242 - 2245, April 2024
2242: Fanfare Prelude - Faithful in every way (Simon Gash)Lord, I come before your throne of grace (S.A.S.B. 378) has become a popular song for Sunday worship. These words of great assurance are married to a strong tune which, unlike many contemporary worship songs, suits the brass band idiom well. Although this piece will work without Percussion, the Snare Drum part, which underpins a lot of the piece, will help drive the music forward.2243: The wonders of thy grace (Norman Bearcroft)Herbert Booth's song Within my heart, O Lord, fulfil (S.A.S.B. 211) was the inspiration behind Lieut-Colonel Norman Bearcroft's three-verse setting of the hymn tune Wareham, with the title being taken from the lyrics of verse two.2244: Trombone Solo - I will wait (Andrew Mackereth)Major Leonard Ballantine has an astonishing gift for contemporary song writing. This song is a brilliant example of this, taking the idea of Jesus waiting patiently for us to accept the fullness of his offer of love.This arrangement was made at the request of Andrew Justice, former Principal Trombonist of The International Staff Band. For many years, Andrew has used this song with piano accompaniment. In making this arrangement, the composers aim was to capture the transparency you can create in piano playing.2245: The battle cry! (David Edmonds)Inspired by Lorne Barry's Trinity (F.S. 599), this piece would be well suited as a concert opener but would work in many settings as a contribution to worship. Its main feature is the driving rhythmic pattern in the Bass and Percussion sections. The music needs to be played with confidence and purpose. As the title suggests, it is a strong, inspiring battle cry, corralling the troops. This is a setting of the song by Stuart Townend and Keith Getty, O Church, arise (S.A.S.B. 819), which has become popular in recent years, not only within The Salvation Army, but also the wider Christian church.
Estimated dispatch 7-14 working days
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£77.00General Series Brass Band Journal, Numbers 2238 - 2241, December 2023
2238: Fanfare and allegro on the Doxology (Steve Kellner)The Doxology, set to the tune Old Hundredth (T.B. 31), is used widely around the world by Christian denominations, including Salvationists. This concert opener is based on the short but powerful hymn of praise to the Triune God.2239: To the endless day (Kenneth Downie)This is a meditation on the hymn tune Ruth (T.B. 191), written by Samuel Smith. It is a particular favourite of Don Jenkins, whose late wife was also called Ruth. This music is dedicated to Don, a distinguished trombone soloist and former Band master of Bristol Easton Corps Band.The music is always associated with the hymn by William Walsham How, whose words begin 'Summer suns are flowing over land and sea' (S.A.S.B. 59) with the title coming from the end of the final verse.2240: Euphonium Solo - He giveth more grace (Ray Steadman-Allen)This 1996 arrangement of Blacklands (T.B. 527), the composers own hymn tune written in 1963, is being published posthumously. The hymn tune sets the words 'He giveth more grace as our burdens grow greater' (S.A.S.B. 30) with an emphasis on the generosity of God.2241: The Calvary effect (Ian Clarke)Around AC 30, on a hill often refered to as Mount Calvary, an event took place that was to change the world forever. The Calvary effect is a reflection, in musical form, on that event and what it still means to people today. If features two tunes: first, in a quiet reflective mood, we hear the highly emotive Healing Stream, associated with the words 'Jesus, keep me near the cross; There is a precious fountain' (S.A.S.B. 178). This then makes way for the chorus; 'Lord, make Cavalry real to me' (S.A.S.B. 182), which is at times indistinct and almost lost in its surroundings, reflecting the sentiments of the chorus. A return to the main tune follows, this time in a positive, passionate setting. The music finishes with a triumphant 'Hallelujah!'.
Estimated dispatch 7-14 working days
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£77.00General Series Brass Band Journal, Numbers 2234 - 2237, August 2023
2234: Festival March - Above all names (Geoff McCorriston)This Festival March was originally written for the Camberwell Citadel Band, Melbourne, Australia. This composition marks the composers debut within our band journals. Geoff McCorriston served as Deputy Bandmaster at Preston Corps (Australia) for many years before joining the Camberwell Citadel Band. He has also been a member of the Melbourne Red Shield Band. Above all names is distinct from a standard street march in that it is more developed, both rhythmically and thematically. It is an original march that references We plough the fields and scatter (S.A.S.B. 70) and Camberwell (T.B. 182).2235: Flugel Horn Solo - Father, Creator (Simon Gash)Emma Pears has a gift for contemporary song-writing, with several of her songs featuring in the Sing to the Lord publication. The style and relaxed nature of the melody of Father, Creator (first published in the Children's Voices Series in 2011, and later in the Mixed Voices in 2014) seemed a perfect fit for the Flugel Horn. Throughout the piece, juxtaposed with Father, Creator, we hear snippets of the tune St Theodulph (T.B. 231), which outline the first lines of Albert Chesham's words, 'O Father and Creator, Thou God of perfect love' (S.A.S.B. 46).2236: A winter's carol (trs. Neil Smith)The history of the carol O come, Immanuel (C.C. 62) is, like the carol itself, a little mysterious! The melody was conceived as a monastic chant during the 8th century. It was not until 1851 that the priest and hymn writer John Mason Neale translated the verses into English, exposing the carol to a wider audience. There is an aura and enigmatic feel to this melody which is captivating to so many who hear it. This setting was originally conceived for wind band by American composer Mark Williams. The brass band transcription introduces a new name to our journals, Bandmaster Neil Smith, who is the Territorial Music Director for the USA Western Territory.2237: Mighty to keep (Eiliv Herikstad)Mighty to keep marks the composer's first publication since his Promotion to Glory in April 2023. Bandmaster Eiliv Herikstad served faithfully in his native Norway throughout his life, and since the early 1970s, has provided The Salvation Army with a wealth of original compositions and skilful arrangements. Eiliv explored many styles of big-band and jazz writing which, in the 70s, were not commonplace amongst brass bands, particularly in The Salvation Army. Music Editorial are grateful to Eiliv for using his gifts to support Salvation Army music ministry.The subject of this piece is Herbert Booth's song Mighty to keep, which was first published by The Salvation Army in 1889. The chorus of the song is more well-known that the verse and was included in the chorus section of the 1986 Salvation Army Song Book.
Estimated dispatch 7-14 working days
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£42.95The Platinum Jubilee March (Brass Band - Score and Parts)
The Platinum Jubilee March was written to celebrate Her Majesty, Queen Elizabeth II's seventy-year reign as monarch of the United Kingdom. Its premiere was televised live around the world as part of the Queen's Birthday Parade which marked the start of the national Platinum Jubilee celebrations.The Queen's Birthday Parade 2022 saw the First Battalion of the Irish Guards trooping their colour. To reflect this, the march begins in a celebratory style and features a melody based around the opening motif of Let Erin Remember - the regimental slow march of the Irish Guards. In traditional style, the march develops excitement both harmonically and melodically, creating a strong sense of drive before reaching a stately trio. This section has a very regal and noble feel, lending subtle harmonic nods to two of the most quintessentially British composers, Gustav Holst, and Sir William Walton. The march culminates in a bold grandioso, featuring semi-quaver lines that are underpinned by a driving trombone countermelody. A forthright restatement of the introductory fanfare brings the march to a very definite and resolved ending.
Estimated dispatch 7-14 working days