Results
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£179.50Festive Fireworks - Fredrick Schjelderup
Festive Fireworks is written in three movements: I. Festivitas, II. Fantasia & III. Fireworks. The piece is based on two different tunes, both presented in the first movement, "Festivitas". II. Fantasia is written as a calm fantasy on the two themes. It includes melodic lines, percussion effects and finish off with cadenza's for Solo Cornet, Solo Horn, Euphonium and Eb Bass. III. Fireworks is a quick movement with lots of energy combined with technique and melodic lines. Elements of the first and second movement is presented and mixed together for a great finale. To the conductor: "I. Festivitas" can also be used as a concert opener or finale and has two differentendings for concert use or contests (by using all the three movements).
Estimated dispatch 5-14 working days
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£69.99Willow Pattern (Brass Band - Score and Parts) - Harper, Philip
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Chang by the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone.The Willow Pattern Legend:Once, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only the exotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it be stolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescue Knoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip. They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men set fire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness.Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware.Duration: 12:00
Estimated dispatch 7-14 working days
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£34.95Gymnopedie No.1 (Brass Band - Score and Parts) - Satie, Erik - Bowen, Brian
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy.Some mystery surrounds the Greek-rooted title, yet explicitness is immaterial to an appreciation of the music. This brass version should not mask the naivete of the original score, though that may be easier said than done.Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Estimated dispatch 7-14 working days
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£17.50
Gymnopedie No.1 (Brass Band - Score only) - Satie, Erik - Bowen, Brian
This is a transcription for brass band of the first, and most well-known, of Erik Satie's three Gymnopedies for piano which were composed in 1888. All three are similar melodically and pianistically. However, the first and last are more well-known, partly due to the later orchestrations by Debussy.Some mystery surrounds the Greek-rooted title, yet explicitness is immaterial to an appreciation of the music. This brass version should not mask the naivete of the original score, though that may be easier said than done.Tenor Horn and Eb Bass mutes are requested by the arranger and will enhance the transcription if available.
Estimated dispatch 7-14 working days
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£30.00All My Life - Sammy Nestico
A wonderful solo for Eb Tenor Horn with brass band accompaniment, arranged by Jon Bennett - the master of big band to brass band transference. A fantastic arrangement of the ever popular music of the late Sammy Nestico.
In Stock: Estimated dispatch 3-5 working days
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£74.99Willow Pattern - Philip Harper
Composed in 2009 for Nicholas Childs and the Black Dyke BandThis piece tells the Willow Pattern legend through music. Several leitmotifs are used both for the different characters and also for some of the important emotions in the tale. Additionally, Knoon-se's part is mainly played by the flugel horn, Changby the euphonium, the Mandarin by the Eb Bass and the Duke Ta-jin by the trombone. The Willow Pattern LegendOnce, in ancient China, there lived a wealthy and powerful Mandarin who had a beautiful daughter, Knoon-se. She had fallen in love with Chang, a humble accountant, which angered her father who imprisoned her in the Pavilion by the river with only theexotic birds for company. She learnt that the Mandarin planned to marry her to the pompous Duke Ta-jin and that the wedding would take place on the day the blossom fell from the willow tree, so she sent Chang a message: "Gather thy blossom, ere it bestolen". The Duke arrived by sea amid great fanfare when the tree was heavy with bud, and nights of magnificent banquets followed. After one such occasion when the Mandarin slept, Chang crept over the crooked fence and tiptoed into the Pavilion to rescueKnoon-se, but as they escaped the alarm was raised. They fled over the bridge with the Mandarin close on their heels brandishing his whip.They managed to escape by boat to a secluded island where they lived happily for a time. Meanwhile, the Mandarin learned of their refuge and, intent on revenge, he ordered his soldiers to kill them. As Knoon-se and Chang slept at night, the men setfire to the pagoda in which they lived and the lovers perished in the flames. However, the Gods, moved by the lovers' plight, transformed their souls into two turtle-doves which rose from the charred remains, soaring above the Earth, symbolising eternal happiness. Willow Pattern is dedicated to the memory of Jean Harper who passed away as I was completing the piece and who was a great collector of porcelain and china-ware. NOTES ON PERFORMANCEMute Requirements:Metal mutes soprano cornet, repiano cornet, 2nd cornets, 3rd cornets (6 in total) Cup mutes all cornets and trombones (10 + 3) Harmon mutes soprano cornet, solo cornets, repiano cornet (6) Percussion Requirements:There are two parts for percussion on the score. The minimum requirements are as follows: 2 players - Timpani, 2 Large tom toms, 2 Wood Blocks, Triangle, Sleigh Bells, Whip, Clash Cymbals, Suspended Cymbal, Hi-hat, Glockenspiel, Xylophone, Tam tam (or susp. cym.) For performances with extra resources, and to achieve closer authenticity, the full requirements are as follows: 3 players - Timpani, 3 Taiko Drums played with thick wooden sticks (or Large tom toms), 2 Wood Blocks, Triangle, Chinese Bells (or Sleigh Bells), Whip, Clash Cymbals, Chinese Cymbals (small clash cymbals approx 12"), Suspended Cymbal, Glockenspiel,Xylophone, Tam tam
Estimated dispatch 5-14 working days
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£44.95Princethorpe Variations (Brass Band - Score and Parts) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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£22.50
Princethorpe Variations (Brass Band - Score only) - Downie, Kenneth
Colourful harmony, rhythmic flair and melodic invention are the hallmarks of this excellent set of variations by Kenneth Downie, based on the well known church tune, Princethorpe.This major work demonstrates the well-known characteristics of the composer: colourful harmony, rhythmic flair and melodic invention, all encapsulated in scoring which is engulfing both to players and listeners alike. Following a presentation of the theme there are five variations culminating in what can be described as either a finale or coda.Theme. The composer shows his originality in the harmonic sense of this introduction. Perhaps it could be suggested that over-indulgence of rubato may be a temptation to be avoided.Sections A to F. Relentless rhythmic drive is of paramount importance in this first variation. Conscientious observance of dynamics is of course an essential requirement in conveying the exciting quality of the music; there are moments of sudden contrast of which all will need to be aware. Moving between the time-signatures of 5/4 and 6/4 these sections are built from strong easily-identifiable fragments of the theme. These is a significant increase in temp at letter F which will further the exciting impact of the music.Sections G & H. In a pastorale style this short, gentle variation affords a contrast in style between the previous and succeeding ones. The gentle undulating character of the melodic lines is governed by the Allegretto grazioso directive.Sections I to M. Commencing two bars before letter I the music is now exuberant and the tempo and style is that of a march in compound time. In this exhilarating movement there are moments of contrast and indeed of delicacy which are a foil to the more energetic moments. Rhythmic control will be essential to maintain a consistent tempo. As elsewhere in the work, the percussion section will contribute much to the success of the performance there are bars where this section alone is heard and there are important entries for glockenspiel.Sections N & O. With emotional content this Adagio variation has the first two notes of the melody as its melodic impetus. Apart from just over two bars at O (where there is an interpolatory phrase from Cornets and Trombones), the melodic line is entrusted to the plaintive sounds of the horn section. Cornets and Trombones provide a change of tone colour at the beginning of section O. Under a poco rall, this very expressive variation is concluded; there is an important link supplied by Eb Bass.Sections P & Q. A lively march-tempo is launched immediately and these sections are in the nature of an introduction to the final variations. There is a quickening of pace at Q which assists the generation of excitement which should be an essential part of the performance. Solo Cornets introduce a melodic line at Q which anticipates the compound time of the following section.Sections R & S. The Solo Cornet theme of the previous section is now a contrapuntal line accompanying the theme tune. With an elongation of the notes in the melody, the conductor will need to call on the sustaining powers of the band and at no time should the interesting accompanying lines be allowed to detract from the sonorous presentation of the basic theme.Sections T, U & V. Following a poco rit, the finale begins at letter T with the directive, molto vivace. There is much detail to be rehearsed, not least being the dynamic contrasts which are encountered. As throughout the work, the listener should have no difficulty in identifying the thematic sources of the composer's music.
Estimated dispatch 7-14 working days
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Blue | Gansch arr. John Doyle
A truly stunning piece of music written by the world famous Thomas Gansch of Mnozil Brass, and artfully arranged for Brass Band. The stage performance of this piece includes a Solo septet of three trumpets,tenor horn, two trombones and a tuba. The main band fills in the accompaniment. Trumpet 1 has a tricky part to play, but all other parts are straightforward. First performed by the Leyland Band at Music in Concert 2014, this is a real favourite, and a stunning show piece. Instrumentation: Solo Septet: Trumpets 1, 2 and 3 Solo Tenor Horn Trombones 1 & 2 Bb Tuba Main Band: Soprano, Solo, Repiano, 2nd and 3rd Cornets Flugelhorn 1st and 2nd Tenor Horns 1st and 2nd Baritone 1st, 2nd and Bass Trombone Euphonium Eb and Bb Basses Drum Kit Tambourine Bongos ISMN: 979-0-708127-94-9
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Elsa's Procession to the Cathedral | Wagner arr. Alwyn Green (10)
A superb arrangement for Brass Ensemble (10) of a timeless classic. Skill is required in this piece to maintain tone quality and a steady even pace throughout the expansive Wagnerian melodies.This piece is one seamless musical gesture, and performers must shape flowing melodies and counter-melodies while retaining proper ensemble balance.Patience and restraint are needed when allowing the music to build logically and cohesively to its magnificent climax. A demanding concert piece.Elsa's Procession to the Cathedral, with its medieval colour and pageantry, prefaces her betrothal to Lohengrin, mystic Knight of the Holy Grail, who comes to deliver the people of (Antwerp) from the Hungarian invaders.The soundtrack is played by the Prince of Wales Brass, formed from members of the City of Birmingham Symphony OrchestraInstrumentation1st Trumpet in Eb2nd Trumpet in BbFlugelhorn / 3rd Trumpet in BbFlugelhorn 2 in BbHorn in F1st Trombone2nd Trombone3rd TromboneBass TromboneTubaOptional OrganPercussion Parts (2):1. Timpani2. CymbalISMN: 979-0-708127-14-7
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