Results
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£30.00Sine Metu - Andrew Duncan
Commissioned in 2008 by the Bo'ness and Carriden Band to celebrate their 150th anniversary, this march is now available for other bands to enjoy as a great opener or closer for any concert.Its title takes the band's own motto, translated as "Without Fear", and the march offers an exciting and lively programme choice with a lovely strident trio section coming from the lower brass.An exciting item for any concert programme or entertainment competition.
In Stock: Estimated dispatch 3-5 working days
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£69.99A Hymn to New England - John Williams
Written in 1987 as the accompaniment to New England Time Capsule, an Omnimax travelogue, and recently recorded by the Boston Pops, this three minute concert work adapts wonderfully for band. With true Williams craftmanship, it features brassy fanfares and a rich, sonorous hymn, all based on the same melodic intervals. John Williams' brilliant orchestration is successfully captured, making this a superb concert opener for brass bands.
Estimated dispatch 5-14 working days
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£109.99Frontier Vision - Stephen Bulla
Frontier Vision is a concert or contest piece based on three elements: the commemoration of the 500th anniversary of Reformation Day, the Martin Luther melody, A Mighty Fortress Is Our God (Ein Feste Burg ist unser Gott) on whichthis composition is based, and thirdly the spreading of the evangelical movement in the late 19th century, of which the analogous storyline forms the structural basis of this work. Multi-cultural ethnic influences, along with the driving rhythms thatreflect the perseverance and hard work of those mission-minded pioneers, are both important components that make Frontier Vision an outstanding choice for your concert or contest. Frontier Vision was the test piece for the seconddivision in the Dutch National Brass Band Championships 2017.
Estimated dispatch 5-14 working days
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£90.30Blackbird Special - Davis
Blackbird Special" is a song by American band Dirty Dozen Brass Band. The song is an entertainment piece, a good concert opener or encore. When used as a concert opener one may let the different sections of the band enter the stage one by one playing in order of appearance. Percussion section may play their parts ad lib. The most important is the groove of the piece. Please pay attention to strict articulation from bar 17. Be aware of the marcatos at 33. The last note of the slurs at 41 must be not be too short. It's important to hold the note values, especially in bars 49, 51, 53 and 55. From 57 and throughout the piece, the percussion may invite the audience to join forhandclaps. As an extra effect, the Bass Tubas may stand at 57, the Horns at 59, backrow Cornets and Trombones at 61 and Euphonium/Baritone/Solo Cornets at 63. ||||||
Estimated dispatch 5-14 working days
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£40.00
Elemental - Philip Harper
The opening number in Cory Band's 2015 'Four Elements' themed Brass in Concert programme, this piece sets out a mysterious introduction transporting us back to the time of the Greek Philosophers, after which it presents short musical depictions of Fire, Air, Water and Earth. Designed to start your concert with a bang.
Estimated dispatch 5-14 working days
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£87.99With Clouds Descending - Philip Sparke
With Clouds Descending is a fantasy on the powerful Advent hymn Helmsley which is long associated with another Advent hymn - Wesley's Lo! He Comes with Clouds Descending. The hymn tune is divided into an introduction and three complete verses of Helmsley, which surround a slower central section, whose melody is derived from the last line of the hymn tune. Philip Sparke's grade 4 arrangement of this majestic piece for Brass Band is equally suitable as a concert opener or a main concert piece.
Estimated dispatch 5-14 working days
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£40.00Fantasia on British Sea Songs - Henry Wood arr. Phillip Littlemore
Henry Wood's medley Fantasia on British Sea Songs was arranged in 1905 to mark the centenary of the Battle of Trafalgar. For many years it was as an indispensable item at the BBC's Last Night of the Proms concert.Wood's arrangement comprised nine parts, although this transcription has been somewhat truncated to make it more manageable for a brass band concert. The movements selected are The Saucy Arethusa; Tom Bowling; Jack's The Lad (The Hornpipe); Home; Sweet Home; See The Conquering Hero Comes; Rule Britannia. Duration: 5'00"Difficulty: Suitable for all
Estimated dispatch 5-7 working days
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£40.00Reflections of Tyne - Matthew Hall
Reflections of Tyne was commissioned by the NASUWT Riverside Band for their 2019 performance at Brass in Concert at The Sage in Gateshead.Reflections of Tyne combines two traditional songs from the North East of England into a rumbustious concert or contest finisher full of flair and excitement.The Waters of Tyne and The Cliffs of Old Tynemouth blend in the opening reflection of the stillness of the River Tyne before the industrial heritage of North East England is forces its way on to the landscape as the pace and intensity doubles almost instantaneously. A calmer, contemplative, solo passage precedes the final energetic climax in a vibrant musical rendition of the North East as we know it today, with the Tyne as important now as it ever has been.
Estimated dispatch 5-7 working days
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£35.00
Planets Align - Harper, P
Planets Align is intended to be a dramatic, theatrical opening number using the full space of any auditorium. Featuring fanfares for soprano and principal cornet, and an extended ad lib drum kit solo, the piece is designed to segue into any other piece and will make an arresting start to your concert as it did to Cory Band's 2014 Brass in Concert programme.1st section +Duration 3 mins
In Stock: Estimated dispatch 1-3 working days
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£75.00As Above, So Below - Jay Capperauld
An original composition for brass band and brass quintet by Jay Capperauld was commissioned by John Wallace and The Wallace Collection with the support of the PRS Foundation's Beyond Borders. This major work enjoyed its world premiere at The Cumnock Tryst on 30 September 2017 at Cumnock Old Church, performed by The Wallace Collection and Dalmellington Band, conducted by Martyn Brabbins.If you would like to perform this work, please don't hesitate considering The Wallace Collection to provide the brass quintet elements - if you would like to discuss potential performances, please contact us on [email protected] NotesBased on the Hermetic maxim "As Above, So Below", the phrase comes from the cryptic text of The Emerald Tablet, which was purportedly written by a mysterious character who is thought of as an amalgamation of Greek and Egyptian Gods, Hermes Trismegistus. The text first appears in Arabic between the 6th and 8th Centuries and is intended to outline the primitive and hidden sources that constitute the basis of all matter in the universe. The phrase "As Above, So Below" implies an essential "oneness" of all matter and a correlation between the physical elements and supernatural entities that make up our surroundings. The philosophies expressed within The Emerald Tablet have become a founding principle of Alchemy, Occultism, Witchcraft, Theosophy and various other ancient gnostic systems of belief, and this work attempts to explore these forms of so-called "secret knowledge" in a ritualistic trance-like Adagio steeped in the esoteric.The Brass Band is placed at the centre of the stage while the solo Brass Quintet are spread antiphonally around the concert hall and are placed above both the Brass Band and the audience in an attempt to create a direct dialogue between the Above and the Below. Therefore, the piece endeavours to explore the meaning behind the text of The Emerald Tablet as well as the phrase 'As Above, So Below' in a music context while giving particular attention to the 'SOLVE' (Latin for 'Separate' which correlates to the Above) and 'COAGLUA' (Latin for 'Join Together' which relates to the Below) that is depicted in the image of the Baphomet by the French occultist author, Eliphas Levi, which is a visual representation of the phrase 'As Above, So Below'.Additional Note of InterestIt was not until the work was complete that the role of the main melody became clear when an unexpected and inadvertent correlation between this melody and that of the Latin Dies Irae presented itself. The plainchant nature of As Above, So Below's melody became a defining feature of the piece and when compared to the melody of the Dies Irae (a similar melody reminiscent of that contained within As Above, So Below), some interesting and unsettling implications unveiled themselves.The findings of a comparison can be interpreted as follows:Both melodies adhere naturally to the plainchant idiom, which in itself strongly relates to a supernatural (or quasi-religious) element in both cases.Both melodies originate in the key of D; the Dies Irae resides in the Dorian Mode on D while the As Above, So Below melody inhabits the D Octatonic Scale.Both melodies can be divided into three distinct phrases, although the melody to As Above, So Below can be divided into three phrases in a number of ambiguous ways.The most striking and unnerving connection is that, by pure chance, the Latin text to the Dies Irae fits perfectly under both melodies giving an entirely specific context to how the melodies are perceived.By understanding the As Above, So Below melody as an alternative to that of the Dies Irae and by interpreting it in the same context, the connotations of the Dies Irae's otherworldliness, and the suggestion of a dialogue with the supernatural and death adds a richer dimension to the As Above, So Below melody which in turn solidifies the esoteric concept of this work.In conclusion, this unanticipated and purely accidental relationship between both melodies is worthy of note more so from an emotional and contextual perspective rather than from any analytical evaluation concerning the music itself - it is the circumstance of the so-called "secret knowledge" that has presented itself within the inner workings of As Above, So Below.
In Stock: Estimated dispatch 3-5 working days
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