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£60.00
Requiem Paraphrases - Peter Meechan
Requiem Paraphrases uses the opening bars of Mozartas Requiem as its musical material for the whole piece. An aggressive opening is followed by a sounding of Mozartas original theme, in a setting for low brass and solo euphonium. Percussion and woodwind then enter, as the soloist begins to elaborate. A brief return to the opening is followed by a new, percussion driven, section.The euphonium and various soloists in the ensemble interact, exchanging ideas over an ostinato in the marimba. As this section continues towards the cadenza, the ensemble gradually takes on more of an accompanying role, leaving the soloist to again break free, with flourishes and gestures leading to the cadenza.Following this, there is a short recapitulation, before the euphonium brings us to a dramatic conclusion!Requiem Paraphrases was commissioned by, and dedicated to Steven Mead.
Estimated dispatch 12-14 working days
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£44.95Road to Run
The piece starts with a simple rhythmic pulse which is the basis of the entire work. This cell provides a platform for the piece to grow and develop starting with the first theme played by the euphoniums, all the way through to the conclusion performed in full gusto by the whole ensemble. The various motifs introduced throughout the opening of the piece are passed between the ensemble before the introduction of the three soloists.The central section of the piece features the Solo Trombone, Cornet and Euphonium as they take turns to play a jazz fusion solo whilst having some musical interplay with each other at the front of the stage. After this solo passage, the music then features the various sections within the ensemble, which pays homage to Weather Reports' famous "Birdland". In a jazz fused cannon, each new independent musical phrase is performed by the various sections standing. Starting with the Horns then Solo Cornets, Back Row and Flugal and finally the Baritones and Trombones.Once the different sections of the ensemble are featured, the piece then moves into the final stages. This section sees a reprieve of the opening material heard at the beginning, but further developed with the various melodic motifs passed around the ensemble. The ending builds on this material towards a rousing conclusion."Road to Run" is an up tempo, high energy concert work that has that 'feel-good factor' from start to finish. The idea behind the title is based on the feel and structure of the piece which takes the listener on a musical journey. And at 150 beats per minute - you could put it in your headphones and find your own 'Road to Run'.
Estimated dispatch 7-14 working days
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£30.00Edward Gregson: Music of the Angels, for Symphonic Brass and Percussion
DescriptionProgramme NoteMusic of the Angels is a dramatic work of some 16 minute's duration, scored for a large symphonic brass ensemble, including seven trumpets, and percussion. The percussion section deploys 'dark' instruments such as three tam-tams, a bass drum and two sets of timpani.The title of the work is based on a quotation from the Book of Revelations:And I saw the seven angels which stood before God; and to them were given seven trumpetsThus, the idea behind the work is a dramatic one and the composer has emphasised this by the partial spatial arrangement of the ensemble, with six solo trumpets standing centre stage, but behind the main ensemble, and the seventh trumpet off-stage throughout.The work opens with a four-note motif, dominant throughout the work, announced initially by four off-stage horns and answered by fanfare figures on four solo trumpets. Then in turn each of the first four solo trumpets announce their own cadenzas before joining together, independently playing their own music. This reaches an intense climax before subsiding into slow music which might be described as a Kyrie eleison - a lament for humanity - a cantilena for flugel horn and euphonium, accompanied by trombones. The drama soon returns with the entry of trumpets 5 and 6, playing music that is fast, more urgent and foreboding, and describing in musical terms the horsemen of the Apocalypse.At the climax of this section trumpet 7 enters dramatically, representing the words of the seventh angel ... and time shall be no more. The opening four-note motif is here transformed into a cadenza of epic proportions, to the partial accompaniment of three tam-tams (representing the Holy Trinity). The ensuing scherzo, scored for the ensemble, is fast and furious, but despite the somewhat desolate mood of this music (briefly interrupted by the re-appearance of trumpet 7), it slowly moves towards a more optimistic conclusion, transforming the 'lament for humanity' music into an affirmative and triumphant climax.This work has been commercially recorded on a critically acclaimed CD from London Brass on the Chandos label, available HERE.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£79.95Orion (Brass Band - Score and Parts)
Orion was named after the giant huntsman in Greek mythology and is a prominent constellation located on the celestial equator and visible throughout the world. It is one of the most conspicuous and recognisable constellations in the night sky. This piece and its inspiration were composed as a tone poem creating a musical picture of this amazing phenomenon.The opening introduces the constellation. Starting mysteriously with the percussion and basses this section develops a series of rhythmic and harmonic interludes from the upper brass. As this introduction develops, the melodic line lead by the Solo Cornet and Euphonium builds as the accompanying instruments increase in their rhythmic complexity. This section climaxes with a short fanfare motif which will be a prominent theme throughout this piece.The fast rhythmic section that follows serves as a technical test for the players. The thematic device introduced by the Solo Cornets is passed around various soloists and sections within the ensemble. This part of the tone poem gives the opportunity for the ensemble to highlight their technical prowess. The fanfare motif returns to conclude this section and takes the piece into the slow middle movement.Motifs heard earlier are mixed with new ideas in this slow section which give an opportunity for a variety of soloists to demonstrate their musical prowess. After the various solo passages and cadenzas, the mood shifts dramatically to a more ominous section that builds in texture and dynamic. Concluding with our returning fanfare motif the piece then builds in momentum towards our finale section.This finale is a technical showcase which will further test the playing ability and stamina of soloists, small groups and the full ensemble. Using prominent musical themes heard throughout this piece the music builds to a glorious conclusion fitting with wonderful constellation.
Estimated dispatch 7-14 working days
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£80.00St. Magnus - Kenneth Downie
Dedicated to Alastair Massey, an inspirational music teacher. Commissioned by the Scottish Brass Band Association for the 2004 European Brass Band Championships in Glasgow. This music is a set of variations on the tune known as St Magnus, which is attributed to Jeremiah Clarke. Most people will associate it with Thomas Kelly's hymn which begins: "The Head that once was crowned with thorns is crowned with glory now". The tune is very simple, consisting of just two, four-bar phrases. Neither is there much in the way of rhythmic variety, every note being a crotchet with the exception of two quavers, and the last note in each phrase. Within such a simple structure, however, lies considerable strength. THEME The listener is given the opportunity of hearing it twice, in full, at the beginning, starting with one player but soon taken up by the full ensemble. It returns in the middle of the music and is stated again near the end. This has been done quite deliberately in the hope that there will be an appreciation of what material is being developed, by the listener as well as by those with access to the score, who are able to see the visual connections. VARIATION 1 This takes the rhythm of the last part of the theme and also uses the shape of the opening as a recurring figure. The mood is whimsical and skittish, with short, teasing rhythmic figures tossed around the band, and quick interplay with percussion, at a fast tempo. An energetic flourish finishes this variation before the Andante espress. VARIATION 2 This commences with chords related to the opening of Variation 1. The cantabile on solo comets establishes a new, lyrical mood and there is scope for expressive playing in a series of short solo passages. The theme works its way unobtrusively into the texture before a reprise of the solo cornet melody and some more lyrical interchanges between Eb bass, euphonium, flugel horn and comets. The variation ends serenely with clear references to the last phrase of the theme. VARIATION 3 The first idea to dominate is clearly linked to the shape of the theme's first phrase. There is a frenetic feel to much of this variation, with considerable energy and instability created by extensive use of cross-rhythms. A thinning-out of the score marks a clear change to development of the start of the second phrase of the theme. This proves to be short-lived however, and the opening material returns leading to a restatement of the theme, "Maestoso," after which a euphonium cadenza links to Variation 4. VARIATION 4 Here we have some solos for euphonium, cornet, trombone and Eb bass set against a background of horns and baritones presenting a pensive statement of the theme's opening. VARIATION 5 This commences Allegro, with lively work for cornet and euphonium spreading to the whole band before attention focuses on the beginning of the second phrase of the theme which is initially presented in diminution, then in regular rhythm, then in inversion. An increase in tempo coupled with a decrease in volume, requires dexterity and control, with several metrical challenges thrown in for good measure. The same fragment of phrase becomes an ostinato which generates a frenzied climax, punctuated by short, dramatic silence, before the opening figure returns and the music gradually winds down. The tubular bells herald the final return of the theme, in augmentation, marking the start of the Finale. FINALE This features the running semiquavers of the previous variation sounding in counterpoint. A fast, furious coda speeds the work to a conclusion while references to the opening of the theme are still trying to break into the texture of the music. Kenneth Downie
Estimated dispatch 5-14 working days
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£24.95On the Face! (Basic Set)
The Basic Set contains:Score1st B flat Trumpet/Cornet2nd B flat Trumpet/CornetTrombone/Euphonium/Baritone BCTrombone/Euphonium/Baritone TCOn the Face is a complete repertoire (warm-ups and 23 pieces) for beginner brass ensemble. Perfect material for school assemblies and music centres, it includes folk songs, famous classical themes, and exciting new jazz and pop numbers. Each piece is score for a basic trio of two trumpets/cornets and one trombone/euphonium (TC or BC). However, optional independent parts can also be added for horn in E flat or F; high trombone or euphonium (tenor part); tuba; and drum kit. The pieces work equally well either with one player to a part, or in larger group settings. With its appealing variety of musical styles and textures, On the Face is sure to make the young brass player's first experience of group playing both rewarding and fun.
Estimated dispatch 7-14 working days
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£19.99Dear Friends
ABOUT THIS PIECE: Introduce a heartfelt and reflective moment to your next programme with this beautiful arrangement of Dear Friends, originally performed by Freddie Mercury and Queen. Written by Mercury and featured on their 1974 album Sheer Heart Attack, this gentle ballad stands out for its simplicity and emotional sincerity, offering a tender message of gratitude and friendship. This arrangement, crafted for a sextet with band accompaniment, preserves the intimacy of the original. It provides a brief, but soulful showcase for smaller ensemble playing within the band, supported by a sensitive muted accompaniment (this piece can also be played as a simple sextet without the band accompaniment). ENSEMBLE: Sextet (recommended cornet, horn, baritone, trombone, euphonium and Eb bass) with Band accompaniment WHEN YOU BUY THIS PRODUCT, YOU GET: High-quality printed score and parts LEVEL: 1 LISTEN: Click here DURATION: 1-minute 10 secondsEXAMPLE SCORE: Click here LEVEL GUIDE: Level 1- Accessible to all Level 2 - c. UK third section and higher Level 3 - c. UK second section and higher Level 4 - c. UK first section and higher Level 5 - c. UK championship section level
Estimated dispatch 5-7 working days
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£25.00Christmas Concerto
DescriptionThis arrangement of Corelli's famous "Christmas Concerto" features soprano cornet, two solo cornets and solo euphonium. Arcangelo Corelli was one of the first masters of the baroque period, a skilled violinist much admired by fellow composers like Bach and Handel. He was born in Fusignano, near Ferrara in Northern Italy in 1653. He studied in nearby Bologna where he became an extremely competent violinist. By the 1670s he was working in Rome and building a reputation as a composer at the important and powerful Papal court. By the late 1600s he was widely famous all over Europe, regularly invited to important courts and palaces. Although he had a huge influence on the virtuoso writing of later composers, his writing for string instruments was designed to be playable by average, often amateur players.His set of Concerti Grossi known as Opus 6 was not published in his lifetime. We think they were written around 1690, and they were first published in Amsterdam in 1714, a year after Corelli's death. A 'Concerto Grosso' is a concerto for a group of soloists (the "concertino" group) accompanied by an ensemble (the "ripieno" group) and was an important form in the Baroque era. Handel's very successful examples were modelled on Corelli's example. Number 8 from the Opus 6 set was commissioned by the Venetian Cardinal Pietro Ottoboni and bears the inscriptionFatto per la notte di Natale('made for the night of Christmas'). It was used as part of the soundtrack for the 2003 film 'Master and Commander: The Far Side of the World".Performance Notes.In this arrangement the 'Concertino' group are the soprano cornet, solo cornets 1 & 2 and the solo euphonium. If logistics allow they should stand either at the front of or some distance away from the band. There is no percussion in this arrangement. All tutti cornets will require cup mutes.Duration approximately 3'15".You can listen to a preview while following the score below:
Estimated dispatch 7-14 working days
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£49.95On the Face Too! (Value Set)
Value Set includes: a score and one of each part:Part A: Trumpet 1 in BbPart B: Trumpet 2 in BbPart C: Horn in EbPart C: Horn in FPart C: Trombone/Euphonium TCPart C: Trombone/Euphonium BCPart D: Trombone TCPart D: Trombone BCPart D: Bass in EbPart D: Tuba BDPercussionAdditional score and parts are also available individually.On the Face Too! is to the secondary school brass teacher as On the Face! is to the primary: namely a collection of pieces for intermediate brass ensemble in various jazz and popular styles, aiming to give a ready supply of material for concerts and assemblies, which nevertheless still allows for the developing technique of the young players to whom it is addressed.Generally speaking, the technical difficulty of the material here goes no further than grade 4 or 5 (even the first trumpet part never goes higher than a written G), though some pieces will offer considerable rhythmic challenges.
Estimated dispatch 7-14 working days
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£3.95On the Face! (1st Bb Trumpet/Cornet)
On the Face is a complete repertoire (warm-ups and 23 pieces) for beginner brass ensemble. Perfect material for school assemblies and music centres, it includes folk songs, famous classical themes, and exciting new jazz and pop numbers. Each piece is score for a basic trio of two trumpets/cornets and one trombone/euphonium (TC or BC). However, optional independent parts can also be added for horn in E flat or F; high trombone or euphonium (tenor part); tuba; and drum kit. The pieces work equally well either with one player to a part, or in larger group settings. With its appealing variety of musical styles and textures, On the Face is sure to make the young brass player's first experience of group playing both rewarding and fun.
Estimated dispatch 7-14 working days
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