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£30.00Three Pieces from Czechoslovakia - Leos Janacek
This is the music of Leos Janacek (1854-1928) - exciting, powerful, emotive, impassioned, unpredictable, and many other definitions all rolled into one! Janacek was little known in Britain until the 1960's, when the conductor Charles Macherras introduced his unique music and opera to the western audience. His orchestral Sinfonietta was an instant hit. Janacek has since been one of the featured composers in the 'Proms'.The three pieces which I have arranged for brass band are INTRODUCTION, ORGAN SOLO and INTRADA from Janacek's Glagolitic Mass. They work equally well together or on their own, as they each have their own identity. They can be purchased together or separately.1. INTRODUCTIONA great 'starter' for the first or second half of a concert. 2. ORGAN SOLOThis is a 'must' if you want to impress your audience - every section of the band is incredibly busy, (although they can be assured that they do have time to breath)! 3. INTRADAThis piece, (and no.1 "Introduction"), both contain that 'fanfare' like quality which Janacek is famous for in his Sinfonietta.
In Stock: Estimated dispatch 3-5 working days
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£154.60Momentum Sequences - Fredrick Schjelderup
Momentum Sequences was commissioned by Skjold Skoles Musikkorps (Norway) for their 60th Anniversary in 2021 (later adapted for brass band to Smoras Skolemusikk).The title of the term Momentum can be explained by an event that creates extra energy, or the driving force of a moving object. In this case, both the driving force,The energy and the object can be translated to the music, the conductor and the band.The piece is divided in three movements; I.Signals, II.Light and III.Finale which builds up the Momentum of the piece' character and theme.
Estimated dispatch 5-14 working days
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£113.00Var sang - Svein H. Giske
Our song was commissioned by Knarvik Skolekorps for their junior band in 2020. They wanted an original piece that could challenge their young players.This became a suite in three movements with themes that run through the whole piece.In the 2. movement there is a possibility for the band to sing in Song of friendship.. Young people finding friendship through music, as I myself have done, is one of the nicest things one can experience, in my opinion.Should you choose not to sing, you can just play the notes as printed.Svein H. Giske-September 2022-
Estimated dispatch 5-14 working days
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£77.00General Series Brass Band Journal, Numbers 2242 - 2245, April 2024
2242: Fanfare Prelude - Faithful in every way (Simon Gash)Lord, I come before your throne of grace (S.A.S.B. 378) has become a popular song for Sunday worship. These words of great assurance are married to a strong tune which, unlike many contemporary worship songs, suits the brass band idiom well. Although this piece will work without Percussion, the Snare Drum part, which underpins a lot of the piece, will help drive the music forward.2243: The wonders of thy grace (Norman Bearcroft)Herbert Booth's song Within my heart, O Lord, fulfil (S.A.S.B. 211) was the inspiration behind Lieut-Colonel Norman Bearcroft's three-verse setting of the hymn tune Wareham, with the title being taken from the lyrics of verse two.2244: Trombone Solo - I will wait (Andrew Mackereth)Major Leonard Ballantine has an astonishing gift for contemporary song writing. This song is a brilliant example of this, taking the idea of Jesus waiting patiently for us to accept the fullness of his offer of love.This arrangement was made at the request of Andrew Justice, former Principal Trombonist of The International Staff Band. For many years, Andrew has used this song with piano accompaniment. In making this arrangement, the composers aim was to capture the transparency you can create in piano playing.2245: The battle cry! (David Edmonds)Inspired by Lorne Barry's Trinity (F.S. 599), this piece would be well suited as a concert opener but would work in many settings as a contribution to worship. Its main feature is the driving rhythmic pattern in the Bass and Percussion sections. The music needs to be played with confidence and purpose. As the title suggests, it is a strong, inspiring battle cry, corralling the troops. This is a setting of the song by Stuart Townend and Keith Getty, O Church, arise (S.A.S.B. 819), which has become popular in recent years, not only within The Salvation Army, but also the wider Christian church.
Estimated dispatch 7-14 working days
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£38.95Unity Series Band Journal - Numbers 510 - 513, October 2022
510: March - There is a fountain (Zachary Docter)This bright and cheerful march takes two songs as its basis; Jesus loves me! This I know (S.A.S.B. 807) and There is a fountain (S.A.S.B 202).511: Shine, Jesus, shine (Marcus Venables)While this piece was originally written for young people at a summer music camp in Canada, the piece is a light programme item suitable for smaller ensembles of any age.512: My Trust (Alan Williams)This setting is based on the simple chorus In thee, O Lord, do I put my trust (S.A.S.B 594). Ordinarily heard in 3/4 times, this 4/4 version of the tune has the space for reflection written into the notation.513: Power in the blood (Martyn Thomas)This is a blues/rock arrangement of the traditional hymn Would you be free from your burden of sin? (S.A.S.B 451). It can be used as a stand-alone piece or equally well as an accompaniment for congregational singing.
Estimated dispatch 7-14 working days
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£30.00Twelve Scripture-Based Songs Volume XIII
Twelve scripture-Based Songs arranged for Brass Band (Volume XIII) are packaged and marketed in complete sets which include a full score and a set of master parts. It is intended that these parts be used as 'masters', for the purpose of photocopying a quantity of parts to accommodate the precise instrumentation needs of the band for which this has been purchased.Faithful One Brian Doerksen arr. Mervyn ClarkeHide me now (Still) Reuben Morgan arr. Paul SharmanI know he rescued my soul (My redeemer lives) Reuben Morgan arr. Dean JonesI will praise you Lord, with all my heart Dick KrommenhoekI will worship (You alone are worthy of my praise) David Ruiss arr .Dean JonesJesus shall take the highest honour Chris Bowater arr. Steven PonsfordThe candle of the Lord Joy Webb arr. Michael KenyonThe way it's gonna be Doug Horley arr. Dean JonesThere is an endless song (How can I keep from singing?) Chris Tomlin, Matt Redman and Ed Cash arr. Brian HoggWhen the spirit of the Lord (Dance like David) Anon arr. Andrew MackerethYour grace still amazes me Craig Phillips and Dean Phillips arr. David E JonesZephaniah's Song (I've found the pearl) arr. William Himes
Estimated dispatch 7-14 working days
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£28.95La Chica sin Nombre (Trombone Solo with Brass Band - Score and Parts) - Wiffin, Rob
A vibrant, rhythmic solo for trombone and bandLa Chica sin Nombre was written in March 2020 at the request of Brett Baker. He wanted something in Latin style so I chose to go for a Mambo-type dance piece. In obtaining the right percussion sound I would always ask for Conga drums and Mambo Bell/Timbales rather than drum kit. The piece needs to be played with an appropriate feel for Latin music. It should sound light and easy to play but has a few tricky moments- especially the cadenza-like sections from F to H. The virtuosic section at letter G can be cut if required.- Rob WiffinDuration: 4.15
Estimated dispatch 7-14 working days
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£38.00Flanfayre (Brass Band - Score and Parts) - Deazley, Stephen
"I was asked by Music for Youth to write a flexibly scored fanfare for the School Proms at the Royal Albert Hall and the National Festival in Birmingham in 2013. At its first performance, over 200 young brass players performed "Flanfayre" in Birmingham Town Hall, directed by Roger Argente, members of Superbrass and myself. The score is a progressive romp through some increasingly dance-like grooves, borrowing some of its swing from South America, from marches and big band, moving from a really quite straight opening to a "let-go" moment at the end. It is more like a flan full of different flavours, than a fanfare, hence the title. I set myself a challenge to write 100 bars but ended up with 102, which, after the introduction, can be broken down into 10 easily discernible sections each with their own mini-musical narrative. Feel free to teach the audience the clapping groove and perform only under the strict instruction that you have fun !" - Stephen Deazley. Duration: 4.00. Suitable for 2nd Section Bands and above.
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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£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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