Results
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£82.30Ungarsk marsj - Hector Berlioz
The "Rakoczi March" (Hungarian March) was the unofficial state anthem of Hungary before Ferenc Kolcsey wrote the Himnusz which is today the official national anthem of Hungary. The first version of this march-song was probably created around 1730 by one or more anonymous composers, although tradition says that it was the favorite march of Francis Rakoczi II. That early version called back Francis Rakoczi II to save his people. It was very popular in the 18th century but in the 19th century the more refined Rakoczi March became prevalent. Hector Berlioz included the music in his composition "La Damnation de Faust" in 1846, and Franz Liszt wrote a number of arrangements, includinghis Hungarian Rhapsody No. 15, based on the theme. The march gave its name to a 1933 Austrian-Hungarian feature film - Rakoczy-Marsch This arrangement is based on Berlioz instrumentation and phrasing from his Hungarian March, but in the form of the 19th century Rakoczi March
Estimated dispatch 5-14 working days
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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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£120.00
Celebration for Band - John Brakstad
Many Norwegian bands have grown up around factories; but Norwegian factories are often located in the countrysides - by a fjord or lake, by a river or waterfall that provided power for the factory.The factory was the foundation for the existence of the community, but it was also essential for the community's cultural life; choirs, bands etc. (cp. British brass bands and mining)."Celebration for band" tries to give a picture of the environment and life around a band like this, with both factory noise and the natural world (Pastorale), as well as the challenges and development of the band itself.The composition is built up of five connected episodes:- Fanfare and Prologue (concludes with a feeling of the untamed power of the river) - Pastorale I: " At the river"- Intermezzo: " The Factory" (starts with the opening of water for the turbines: snare drum. Factory whistle and bell call to work, and the spinning and weaving machinery starts up.)- Pastorale II: " Summer evening on the fjord." - Finale: " Challenge and Progress"
Estimated dispatch 7-14 working days
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£40.00
Don't Sit Under the Apple Tree - Stept-Brown-Tobias - Bjorn Morten Kjaernes
"Don't Sit Under the Apple Tree (With Anyone Else but Me)" is a popular song that was made famous by Glenn Miller and by the Andrews Sisters during World War II. Its lyrics are the words of two young lovers who pledge their fidelity while one of them is away serving in the war. Originally titled "Anywhere the Bluebird Goes", the melody was written by Sam H. Stept as an updated version of the nineteenth-century English folk song "Long, Long Ago". Lew Brown and Charles Tobias wrote the lyrics and the song debuted in the 1939 Broadway musical Yokel Boy. After the United States entered the war in December 1941, Brown and Tobias modified the lyrics to their current form, with the chorus ending with "...'till I come marching home".In 1942 the song was featured in the film Private Buckaroo as a performance by the Andrews Sisters with the Harry James orchestra and featuring a tap dancing routine by The Jivin' Jacks and Jills. It was featured in the films Twelve O'Clock High (1949), With a Song in My Heart (1952), Kiss Them for Me (1957), A Carol for Another Christmas (1964), In Dreams (1999) and The Master (2012). It also featured in the mini-series The Pacific. You can use the song both on musical concerts, movie concerts or just as a happy jazz tune on your next concert. On the sections (like from bar 25), please work carefully to make a good balance with all parts, and that each chord is balanced. With 4-part harmonies sometimes you need to hold back certain notes to make the accord sound good. If you want to open up for a longer improvisation, you can repeat 65 to 81, but then change the part 2 in bar 80 from Eb to a D on the repeat. The accord will be an F6 instead of F7 (on beat 3 and 4 in bar 80) Have fun and enjoy!
Estimated dispatch 7-14 working days
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£60.00Montage (Score only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£72.00Montage (Parts only) - Peter Graham
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries. The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated. A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles. The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon. The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target. Duration: 16:00
Estimated dispatch 7-9 working days
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£25.00Ascend the Brightest Heaven...
DescriptionThe band's uniform badges feature a significant local landmark, a transmission tower officially known as The Arqiva Tower but known more colloquially to locals as 'Emley Moor mast'. The current elegantly tapered concrete sculpture, the tallest freestanding structure in the UK at 1084 feet, is the third mast on this site and was built between 1969 and 1971 after the catastrophic collapse of the previous structure.On 19 March 1969 a combination of extreme icing and strong winds caused the tubular mast to collapse across Jagger Lane and the chapel opposite - fortunately, despite the fact that the organist was in the chapel practising, nobody was injured. Several million people lost their BBC2 and ITV signals, until the Independent Television Authority managed to set up a temporary transmitter nearby!Just over two years later the new mast was operational, and despite initial opposition from some locals who feared another, potentially worse, collapse, Emley Moor Mast is now a popular local landmark and a grade II listed building. In 2015 the mast was illuminated with coloured lights at night to mark the 'Grand Depart' of the Tour de France coming to Yorkshire.You can listen and follow the score in the video below:
Estimated dispatch 7-14 working days
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£30.00strange geometry
Descriptionstrange geometrywas commissioned by Morgan Griffiths and the Hammonds Saltaire Band for their performance at the Brass in Concert Championships of 2015.As a bit of a space/sci-fi geek, as well as a musician, two events during the summer of 2015 had a particular effect on me. The first was the tragic early death in a plane crash of the famous film composer James Horner. Horner's music, particularly in films like 'Star Trek II: The Wrath of Khan', 'Avatar', 'Apollo 13' and even his debut in Roger Corman's 1980 budget film 'Battle Beyond the Stars', defined for a generation the sound of sci-fi at the cinema. Along with John Williams he created the vocabulary for those who wish to express other-worldly wonder in music and his inventive talent will be much missed in an industry where originality has become something of a dirty word in recent years.The second event was the epic flyby of Pluto by the NASA New Horizons spacecraft. There are many reasons to find this mission inspiring - for example, the scientists and engineers behind it created a craft that has travelled at 37,000 mph for nine years and three billion miles to arrive within seventy-two seconds of the predicted time for the flyby. That they achieved this with such accuracy is an outstanding tribute to humanity's ingenuity and insatiable curiosity. However, the most exciting aspect of the mission was the clear, high resolution pictures of this unthinkably remote and inhospitable world beamed back to mission control. The best previous image of Pluto was an indistinct fuzzy blob - suddenly we could see mountains made of ice, glaciers of methane and carbon monoxide and nitrogen fog - features previously unimagined on a world thought to be a slightly dull ball of cold rock. The BBC's venerable astronomy programme 'The Sky at Night' waxed lyrical about these newly discovered features, referring to "the surprising discoveries of mountains and strange geometry on the surface of this cold distant world".I like to think that Horner would have been as inspired as I have been by this real-life science story, and this piece uses some of the vocabulary of the sci-fi movie soundtrack in a tribute to the memory of a great musician and to the inspirational geeks at NASA who have boldly taken us where no-one has gone before.Note: This work comes with a B4 portrait score. Listen to a preview and follow the music below!
Estimated dispatch 7-14 working days
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£29.95Salvation Army Classics 25-28 for Small Ensemble
Salvation Army Classics arranged for Flexible Brass Band Numbers 25-28Bognor Regis - Leslie CondonGoldcrest - James AndersonHe found me - Howard DaviesSt Peter - Keith Griffin This series features pieces that have been rescored for Unity Series (five-part) scoring.PART I 1st Cornet BbPART II 2nd Cornet Bb and 1st Horn EbPART III 2nd Horn Eb and Baritone or Trombone BbPART IV Euphonium BbPART V Bass Eb and Bass BbThese transcriptions have been carried out in such a way to facilitate the addition of any original parts that may be available.Where relevant, suggestions are made for a variation in tone colour (i.e. 2nd Cornet, Flugel, Baritone, Trombone) as well asthe occasional opportunity for rest.
Estimated dispatch 7-14 working days
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£96.99Purcellian Fantasia (Brass Band - Score and Parts)
This composition is based on the march from Henry Purcells Music for the funeral of Queen Mary II, a work written in 1694. In this fantasia, various movements flow from one to the next following the main theme; these movements not only elaborate on the theme, but also contrast with it. At times, the thematic material diverges so much, that the work acquires a character of its own; however, the composer often refers back to fragments of the theme. This work was test piece in the 4th division of the Dutch National Brass Band Championships (NBK) in 2017. Duration: 10.30
Estimated dispatch 7-14 working days
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