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£29.50To Set The World Aglow - Andi Cook
The title "To Set The World Aglow" is a line taken from the core inspiration of the piece, the Carol 'Sweet Chiming Christmas Bells', to which the words to While Shepherds Watched are traditionally sung. With that as the inspiration, other bell-related carols are overlaid and interwoven to give a bright and jubilant setting that stands apart from a traditional Carol selection, providing an ideal Christmas concert opener full of surprises and great harmonies. For Christmas 2020, we have made backing tracks of this title for you to download. These can be used either for personal playback use, or to create a virtual performance of the piece with your full band. To download the backing track, please RIGHT CLICK HERE & Save As .
In stock: Estimated dispatch 1-3 days
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£29.50Theme from Tetris - Traditional - Martyn C Adams
Tetris is without doubt, one of the bestselling games worldwide since its global release in the mid-1980s. Challenging the player to organise a series of falling blocks, the theme tune based on the Russia traditional song, Korobeiniki, in its electronic format, became synonymous with the hand held game. This work has now been scored in an exciting arrangement for brass band which builds and builds to an exciting finale. The music features all sections of the band and bridges the generations, working well as a fantastic finale showstopper.
In stock: Estimated dispatch 1-3 days
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£24.50
We Wish You A Merry Christmans - Trad - Alan Beaumont
As your concerts draw to a close, no Christmas concert would be complete without a rendition of "We Wish You A Merry Christmas". This arrangement is one to let your band go out on a high, ensuring your audiences enjoy every moment.
In stock: Estimated dispatch 1-3 days
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£24.50W.S.B. March - Gavin Somerset
After performing a number of arrangements by Gavin Somerset, the band commissioned him to compose for them, an original march that would serve as their signature tune for years to come. The march was composed in a light 6/8 time that would get passes by listening and audience's feet tapping along. Composed with a DC, this is optional and the finale of the march has a licence for a Grandioso and accelerando to give the work that flair for its finale. To download the Solo Cornet part, please CLICK HERE . To download the Solo Horn part, please CLICK HERE . To download the Solo Euphonium part, please CLICK HERE . To download the playback audio to play along to, please RIGHT CLICK HERE & Save As .
In stock: Estimated dispatch 1-3 days
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£29.50
Yakety Sax - Randolph & Rich - Neville Buxton
Made famous in its use on the Benny Hill Show, Yakety Sax has long been associated with comedy scenes. Now, arranged for the first time by Neville Buxton as a solo for any Bb instrument, some of that hilarity can now feature in your concerts! There's plenty of room for choreography to add to the spectacle, yet even without, this is one solo item that will have the audience wanting more!
In stock: Estimated dispatch 1-3 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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£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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£38.95Unity Series Band Journal - Numbers 522 - 525, October 2023
522: Festival March - The Rescuers (Andrew Hedley)This exciting and bright festival march comes from a new contributor to the band journals. Andrew Hedley is a bandsman at Chester-le-Street Corps and a member of the Euphonium Section of the International Staff Band. This work contains inventive harmonic and melodic patterns and we hope this will be the first of many works from this composer to be seen in our journals.523: Moses and Pharaoh (Ralph Pearce)This piece owes its creation to the playing of the Montclair Citadel Young Peoples' Band in the Sunday School assembly every weekend. The song Pharaoh, Pharaoh is extremely popular and is sung with gusto and much movement. The presentation of this song derives for an accompaniment written for the band to play along with the singing. To widen its use, the spiritual Go down, Moses (STTL Vol.7, Part 2) was added to make the present composition. This music should have drive throughout and be played with a sense of fun.524: Lord, to thee (Alan Williams)This is a setting of the tune Hendon (T.B. 249). The piece uses the first verse of Frances Ridley Havergal's commonly associated text 'Take my life and let it be consecrated, Lord, to thee' (S.A.S.B. 623), and from there it takes its title.525: Song Arrangement - This is why (Noel Jones)This music is based on the tune This is why (T.B. 353) by Elisha Albright Hoffman and this two-verse arrangement reflects the great song of testimony Would you know why I love Jesus (S.A.S.B. 912). An associated scripture reference is found in Mark 10:45 'For even the Son of Man did not come to be served, but to serve, and to give his life as a ransom for many'. The motif 'Would you know' occurs in the opening bars and is repeated throughout the piece, along with fragments of the first verse. The chorus confirms the hoy that Christians experience knowing that Christ's sacrifice has bought forgiveness for our wrongdoings.
Estimated dispatch 7-14 working days
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£37.88March - The Stewards (Brass Band) Dave Collins
This rousing march by Dave Collins is a dedication to the remarkable group of volunteers - the unsung heroes - who, each year, organise and run the iconic Whit Friday brass band contests. They ensure that the heritage and tradition of this uniquely special event is not lost, preserving its ongoing and continued success. BrookWright is offering a 25% discount for bands who perform this march at the Whit Friday Contest. To claim the discount, please send a scan or photo of your band's adjudication card after the event to [email protected] Whit Friday, 'The Greatest Free Show on Earth', is synonymous with the brass band tradition. Its importance in the annual calendar to the players, supporters and spectators is vital to the Tameside and Saddleworth community. However, this mighty contest simply could not take place without the willing volunteers who dedicate their services year after year to keep this unique banding tradition going.Traditionally, on Whit Friday Morning, Hail! Smiling Morn (Roud #1346), also known as Praise Ye the Lord, is heard across the Saddleworth villages. This is where I have taken my inspiration, and the entire march is built upon quotes and references of this joyous work.The Stewards has many traditional elements drawing on the vast repertory of well-known marches, as well as some untraditional techniques and harmonies. The work aims to be a good test for the bands in its performance, but also fun and entertaining for the players and audiences alike - featuring a cheeky cornet solo, thunderous bass feature, and lyrical euphonium melodies, before concluding with a triumphant quote from the original source material.To you all who perform or hear this work, the stewards of the brass band tradition, HAIL! To view a follow-the-score video featuring Tredegar Town Band performing the work please visit www.youtube.com/watch?v=-CNgqvc534s PDF download includes score and parts, and comes in both A4 size and A5 landscape parts for marching purposes. A single page A5 conductor reduced score is also included. Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: 3rd Section + Instrumentation: 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 Bb Cymbals Side Drum Bass Drum
In stock: Estimated dispatch 1-3 days
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