Results
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£34.82Have Yourself a Merry Little Christmas (Vocal or Flugel/Cornet Solo with Band)
This attractive Bossa Nova-style arrangement for vocal or flugel/cornet soloist with brass band has been made by Australian composer Sam Creamer. The key is suitable for male or female vocalists, or in the absence of a vocal soloist a part has been supplied for flugel horn or cornet soloist. A piano accompaniment that matches this band arrangement is also available here and may be used as an alternate accompaniment in the absence of a full band, or can be used simultaneously by a rhythm section alongside the brass band. Have Yourself a Merry Little Christmas has been a Christmas favourite to many since its first release, extensively featuring in Christmas movies, broadcasts and programming. It has also been recorded numerous times by artists including Judy Garland, Frank Sinatra, Tori Amos, Michael Buble, Christina Aguilera, and Chicago. To view a rolling score video of this piece please visit www.youtube.com/watch?v=sSZHxzsJheg Duration: Approx. 3.00 minutes Difficulty Level: Medium Easy PDF download includes parts and score. Sheet music available from www.brassband.co.uk Instrumentation: Vocal Soloist Cornet/Flugel Horn Soloist Bb Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone Euphonium Bb Bass Eb Bass BbPercussion I (Timpani, Vibraphone, Glockenspiel) Percussion II (Bongos, Shaker, Triangle) Percussion III(Drum Set)
In Stock: Estimated dispatch 1-3 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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£15.00Dragon Dances
DescriptionDragon Dances was commissioned by Owen Farr, who is also the work's dedicatee, gave the first performance with the Cornwall Youth Band conducted by Richard Evans on 5 April 2010 and has recorded it on his solo CD "A New Dawn" accompanied by the Cory Band conducted by Philip Harper.Being a Welsh composer, writing music for a Welsh soloist, I was naturally keen to reflect this in the music, and I drew inspiration from two particularly Welsh concepts - "hiraeth" and "hwyl". "Hiraeth" is a word that has no direct translation into English, but an approximation would be 'yearning for home'. Like the other celtic nations, Wales has a widespread diaspora of people who left to seek new lives out in the empire and "hiraeth" is a way of summing up the homesickness felt by these exiles, some of whom return each year for a special ceremony at the Royal National Eisteddfod. "Hwyl" is an even more complicated word, variously meaning ecstatic joy, fervour, equable temperament and even the characteristic sing-song oration style of the great Welsh Methodist preachers.I have attempted to make the music reflect both of these, with the melancholy first part of the work inspired by the hymns and solo songs for which Wales is famous, and the second part having a much more dance-like, joyful quality.Performance Notes:2 solo cornets, 2nd and 3rd cornets require cup mutes. 2 solo cornets require harmon mutes with tubes removed (marked 'TR' in the score).1st horn and 1st baritone require straight mutes, preferably fibre. 1st trombone requires a straight mute, 2nd and bass require cup mutes.Percussion instruments required are vibraphone, glockenspiel, timpani, snare drum, suspended cymbal and tam tamWatch/Listen to the score below:
Estimated dispatch 7-14 working days
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£94.95Dances and Arias (Brass Band - Score and Parts) - Gregson, Edward
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance - Aria I - Dance (scherzo) - Aria II - Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.The work is dedicated to my brother and sister.- Edward GregsonDuration: 14.00
Estimated dispatch 7-14 working days
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£44.95Dances and Arias (Brass Band - Score only) - Gregson, Edward
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance - Aria I - Dance (scherzo) - Aria II - Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.The work is dedicated to my brother and sister.- Edward GregsonDuration: 14.00
Estimated dispatch 7-14 working days
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£15.00My Love is Like a Red, Red Rose - Helen Douthwaite
Robert Burns' beautiful melody is brought to life as a euphonium solo with brass band accompaniment in this simple, yet highly effective, arrangement by Helen Douthwaite.Originally arranged by Helen for the Kirkintilloch Youth Band, the piece not only features the soloist with a carefully crafted, accessible solo line, but also enables the rest of the band to shine through the tutti elements.Set includes score and parts for:Solo CornetRepiano Cornet2nd Cornet3rd CornetFlugelhornSolo Eb Tenor Horn1st Eb Tenor Horn2nd Eb Tenor Horn1st Baritone2nd Baritone1st Trombone2nd TromboneBass TromboneEuphoniumEb BassBb Bass (optional)GlockenspielPercussionAdditional world parts also provided include F Horn 1/2/3, Baritone 1/2 in bass clef, Trombone 1/2 in bass clef, Euphonium in bass clef, Tuba.
In Stock: Estimated dispatch 3-5 working days
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£94.95Dances and Arias (Brass Band - Score and Parts)
This work was commissioned by Boosey & Hawkes Band Festivals (with funds provided by the Arts Council of Great Britain) for the National Brass Band Championships of Great Britain, held at the Royal Albert Hall, London, on 7th October 1984.Dances and Arias is in one continuous movement, but as the title suggests is a series of alternating fast and slow sections as follows: Dance - Aria I - Dance (scherzo) - Aria II - Dance. The opening dance is energetic and introduces a four-note motif (on trombones) which is the basis for much of the melodic material in the work. Throughout, there is a continuous process of thematic cross-reference and transformation.The first aria unfolds a long melody on solo cornet, eventually continued by all the solo cornets, and dissolving into a shimmering harmonic background (muted cornets, horns and baritones) over which is heard a brief self-quotation on solo tuba. This leads into the second dance, a frenetic scherzo, followed by the second aria, in the style of a lament (solo euphonium, followed by two flugel horns). This builds to a powerful climax which subsides, leaving the percussion to introduce the final toccata-like dance. It transforms material from the opening before a coda brings the music to a triumphant close. The large percussion section is an integral part in the work and uses a wide variety of instruments including timpani, glockenspiel, vibraphone, xylophone, tubular bells, tom-toms, snare drum, bongos and tam-tam.
Estimated dispatch 7-14 working days
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£53.00Far Eastern Dream - Paul Voet
The longest trip we make is to the Far East. Japan, China, Tibet,... all countries with an enormous cultural background and history. Percussion is very important here to give a rich dimension to this Japanese 'Black Bamboo' theme. Tam-tam, Chinese cymbals, Tibetan gong and a kododrum (if not possible, large floor tom) together with marimba and glockenspiel are used all the time in a carefulway. A solo cornet presents the main theme that is answered by the whole lower brass section. While this theme develops now and then the sounds of the impressive 'dung' is heard. (dung is the Tibetan very large trumpet-like instrument with loud and very deep sounds) In a quicker tempo Eb bass, euphonium and solo cornet start with the theme and even the counter theme. The whole group joins the party but everything ends very silently with mute.
Estimated dispatch 10-14 working days
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£35.00Ariel
DescriptionAll hail, great master! Grave sir, hail! I come To answer thy best pleasure, be 't to fly, To swim, to dive into the fire, to ride On the curled cloud. To thy strong bidding, task Ariel and all his quality. - William Shakespeare: The Tempest, Act 1, Scene 2Ariel was written for the Hammonds Band to open their programme at the 2019 Brass in Concert Championships at The Sage Concert Hall in Gateshead, where it received its premiere. The title is taken from the character in Shakespeare's play 'The Tempest'. Ariel is an immensely powerful "air spirit" or demon bound to serve Prospero, the exiled Duke of Milan, after being released by Prospero from imprisonment in a tree. In the play Ariel's magical abilities are used to help Prospero revenge himself on his enemies and reclaim his dukedom, whereupon Ariel finally regains his freedom.You can hear an audio preview and follow the score below: Performance notes:The cornets and horns are split into two "choirs" to be placed left and right of the band. It may be possible for the choirs to play their opening flourish offstage, and the optional repeated sections in the opening are to accommodate stage movement if required. Trombones form a third "choir" which should ideally stand centrally between basses and percussion, and the euphoniums and baritones should sit in front of the basses. The work requires four percussionists, although if four are not available the 2nd part may be omitted.Percussion 1: Kit - bass drum, snare, 3 x toms, hi-hat, suspended cymbal - and 3 x temple blocksPercussion 2: Tam tam and orchestral bass drum.Percussion 3: Glockenspiel and timpaniPercussion 4: Tubular bellsSoprano, solo cornets and 3rd cornets require cup mutes. Solo trombone requires a cup mute, second trombone requires a metal straight mute.
Estimated dispatch 7-14 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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