Results
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£59.95
My Strength, My Tower - Rhapsodic Variations (Brass Band - Score and Parts) - Goffin, Dean
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
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£29.95
My Strength, My Tower - Rhapsodic Variations (Brass Band - Score only) - Goffin, Dean
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
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£34.95
The Challenge (Trumpet Solo with Brass Band - Score and Parts) - Ball, Eric
Originally written for trumpet and piano in 1935, this solo exploits the character of the trumpet to good effect. It is a measure of the quality of Eric Ball's music that 'The Challenge' stands up today as fresh in its brass band guise as it did in its first published version.
Estimated dispatch 7-14 working days
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£17.50
The Challenge (Trumpet Solo with Brass Band - Score only) - Ball, Eric
Originally written for trumpet and piano in 1935, this solo exploits the character of the trumpet to good effect. It is a measure of the quality of Eric Ball's music that 'The Challenge' stands up today as fresh in its brass band guise as it did in its first published version.
Estimated dispatch 7-14 working days
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£59.95
The Holy War (Brass Band - Score and Parts) - Steadman-Allen, Ray
Inspired by John Bunyan's allegory of the same name, the composer paints a sound picture of spiritual warfare between the forces of good and evil. Martin Luther's Reformation chorale Ein feste Burg (A Mighty Fortress is our God) serves as the rallying point for 'good' forces led by Mansoul. This brilliant score, A Salvation Army epic, serves as an example of marvellous invention, colourful scoring and compact formal symmetry.
Estimated dispatch 7-14 working days
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£29.95
The Holy War (Brass Band - Score only) - Steadman-Allen, Ray
Inspired by John Bunyan's allegory of the same name, the composer paints a sound picture of spiritual warfare between the forces of good and evil. Martin Luther's Reformation chorale Ein feste Burg (A Mighty Fortress is our God) serves as the rallying point for 'good' forces led by Mansoul. This brilliant score, A Salvation Army epic, serves as an example of marvellous invention, colourful scoring and compact formal symmetry.
Estimated dispatch 7-14 working days
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£34.95
The New Born Babe (Brass Band - Score and Parts) - Broughton, Bruce
The chorale which forms the basis of this prelude dates from the sixteenth century and was used by J.S.Bach in his Cantata No.122, 'Das neugeborne Kinderlein'. On his score Bruce Broughton includes a translation by R. Rutledge of the words; 'There comes the true jubilee, what are we eternally lamenting? Look alive! It is a time for singing, for the Christ-child exorcises all sorrow'.
Estimated dispatch 7-14 working days
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£17.50
The New Born Babe (Brass Band - Score only) - Broughton, Bruce
The chorale which forms the basis of this prelude dates from the sixteenth century and was used by J.S.Bach in his Cantata No.122, 'Das neugeborne Kinderlein'. On his score Bruce Broughton includes a translation by R. Rutledge of the words; 'There comes the true jubilee, what are we eternally lamenting? Look alive! It is a time for singing, for the Christ-child exorcises all sorrow'.
Estimated dispatch 7-14 working days
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£24.95
The Pilgrim's Prayer (Brass Band - Score and Parts) - Rouse, Sydney - Ball, Eric
Introduction - This could hardly be more simple. Inexperienced players may have some little difficulty in intonation, especially as they are starting 'cold', but a useful lesson can be learned in this connection when rehearsing these two bars. Section A - The music is hymn tune-like in character, but it should not become stilted. Close intonation is still a point to study, especially in view of the chromatic nature of some of the harmony. Section B - Aim to secure just balance in the accompanying parts, especially in the second phrase, where the 1st comets may be inclined to treat their moving part as an independent melody rather than part of the 'colour' background. Section C -This is a reprise of the first theme, with a different arrangement. The same comments apply, however. Section D - Here the music becomes more song-like in style, and provides an interesting contrast. The scoring, too, is more varied, and there are a number of points that call for attention. Note that the 1st and 2nd comets and 2nd trombone work as a team throughout; see that the pulsating, syncopated background adds to the movement of the music without giving a jerky effect; the new entries in the fourth and twelfth bars are to be made quite smoothly; and do not allow the texture of the music, especially in the last eight bars of the section, to overshadow the simplicity of the main tune. Section E - Here the first subject appears again. In the arrangement the colour contrasts are quite clear-cut. In order to secure true balance in the fifth and sixth bars, it may be necessary to adjust the amount of tone given by the bass trombone, as this part is not doubled as are the other parts. Section F -This section forms a simple but expressive coda.
Estimated dispatch 7-14 working days
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£12.50
The Pilgrim's Prayer (Brass Band - Score only) - Rouse, Sydney - Ball, Eric
Introduction - This could hardly be more simple. Inexperienced players may have some little difficulty in intonation, especially as they are starting 'cold', but a useful lesson can be learned in this connection when rehearsing these two bars. Section A - The music is hymn tune-like in character, but it should not become stilted. Close intonation is still a point to study, especially in view of the chromatic nature of some of the harmony. Section B - Aim to secure just balance in the accompanying parts, especially in the second phrase, where the 1st comets may be inclined to treat their moving part as an independent melody rather than part of the 'colour' background. Section C -This is a reprise of the first theme, with a different arrangement. The same comments apply, however. Section D - Here the music becomes more song-like in style, and provides an interesting contrast. The scoring, too, is more varied, and there are a number of points that call for attention. Note that the 1st and 2nd comets and 2nd trombone work as a team throughout; see that the pulsating, syncopated background adds to the movement of the music without giving a jerky effect; the new entries in the fourth and twelfth bars are to be made quite smoothly; and do not allow the texture of the music, especially in the last eight bars of the section, to overshadow the simplicity of the main tune. Section E - Here the first subject appears again. In the arrangement the colour contrasts are quite clear-cut. In order to secure true balance in the fifth and sixth bars, it may be necessary to adjust the amount of tone given by the bass trombone, as this part is not doubled as are the other parts. Section F -This section forms a simple but expressive coda.
Estimated dispatch 7-14 working days