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£84.99Pacific Dreams (Brass Band - Score and Parts) - De Haan, Jacob
Pacific Dreams describes the experience of Miguel, a travelling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this old colonial neighbourhood, he discovers a print of William DeShazos painting "Pacific Dreams" Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrow streets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters around Sydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan of Hawaiian music. Maybe he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of "Pacific Dreams", he boards the Metro at Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose! Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, he wants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasising about Hawaii and Tahiti. Andante Lamentoso : In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his "Pacific Dreams". Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is travelling on to Hawaii. Or is it home, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.Duration: 9.15
Estimated dispatch 7-14 working days
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£82.95The Flowers of the Forest (Brass Band - Score and Parts) - Bennett, Richard Rodney - Hindmarsh, Paul
In a preface to the score, the composer explains that 'the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man'. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy's tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett's march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.
Estimated dispatch 7-14 working days
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£44.95
The Flowers of the Forest (Brass Band - Score only) - Bennett, Richard Rodney - Hindmarsh, Paul
In a preface to the score, the composer explains that 'the folk song The Flowers of the Forest is believed to date from 1513, the time if the battle of Flodden, in the course of which the archers of the Forest (a part of Scotland) were killed almost to a man'. Bennett had already used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and it is the arrangement he made then that forms the starting-point for the brass-band piece. A slow introduction (Poco Adagio) presents the folk song theme three times in succession - on solo cornet, on solo cornets and tenor horns, and on muted ripieno cornets in close harmony - after which the work unfolds through five sections and a coda. Although played without a break, each of these five sections has its own identity, developing elements of the tune somewhat in the manner of variations, but with each arising from and evolving into the next. The first of these sections (Con moto, tranquillo) is marked by an abrupt shift of tonality, and makes much of the slow rises and falls characteristic of the tune itself. The tempo gradually increases, to arrive at a scherzando section (Vivo) which includes the first appearance of the theme in its inverted form. A waltz-like trio is followed by a brief return of the scherzando, leading directly to a second, more extended, scherzo (con brio) based on a lilting figure no longer directly related to the theme. As this fades, a single side drum introduces an element of more overtly martial tension (Alla Marcia) and Bennett says that, from this point on, he was thinking of Debussy's tribute to the memory of an unknown soldier (in the second movement of En Blanc et noir, for two pianos). Bennett's march gradually gathers momentum, eventually culminating in a short-lived elegiac climax (Maestoso) before the music returns full-circle to the subdued melancholy of the opening. The work ends with a haunting pianissimo statement of the original tune.
Estimated dispatch 7-14 working days
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£58.60BREEZIN' DOWN BROADWAY! (Brass Band) - Richards, Goff
Medium - Includes: Another Opening, Another Show; There's No Business Like Show Business: Get Me To The Church On Time; Oklahoma!; That's Entertainment; Seventy Six Trombones.
Estimated dispatch 7-14 working days
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£104.99
High Flyers Brass Band (Score & Parts)
From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title, as well as being a play-on-words, implies the nature of the work. It is a bright, optimistic, and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights, leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodic material of the first main theme. Fig. E sees the music of the opening bars fully realised, with flourishes from the euphonium and baritones representing swirling clouds, shooting stars, or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment, evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact, there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece. 08:30
Estimated dispatch 7-14 working days
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£57.50
Over the Rainbow (Eb or Bb Cornet Solo with Brass Band - Score and Parts) - Arlen & Harburg - Morrison, Alan
Recently voted the greatest family film of all time the classic Wizard of Oz is one film that everybody knows. The film theme was re-invigorated with the release in 2004 of a new version by the relatively unknown Australian vocalist, Eva Cassidy. Unfortunately Eva Cassidy is no longer with us but this song will give generations of new music listeners an insight into her amazing vocal abilities and talent. The world-renowned Cornet soloist, Alan Morrison, has taken the Eva Cassidy version and crafted a wonderful Cornet solo in this award-winning arrangement. A wonderful chance to showcase either your Bb or Eb Cornet soloist in a work guaranteed to have your audiences in awe.
Estimated dispatch 7-14 working days
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£30.00Showboating - Jock McKenzie
Showboating makes use of many cliche Balkan musical traits, not least it's shifting use of the 7/8 time signature. Due to all things Covid-19 related this piece was written to challenge students to record their part remotely to a 7/8 click track. Hence, no rall's or accel's just the proverbial '**** off a shovel constant driving pulse.
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£30.00A Million Love Songs - Gary Barlow
Made famous by the boy band 'Take That', this fantastic new angle on the song from Lucy Pankhurst, creatively features the flugel and tenor horn section with full support from the accompanying band.Take That's Gary Barlow wrote 'A Million Love Songs' when he was 15. He also recorded a rough demo of the track, and was one of the songs he gave to music manager Nigel Martin-Smith on a cassette tape as part of his audition to join a boy-band.In his autobiography A Better Me, Gary revealed that Martin-Smith was so impressed by the tape, that he didn't realise it was Gary singing. As legend has it, the conversation went like this:Martin-Smith: "This tape, who has written the songs?"Barlow: "Me"Martin-Smith: "Who wrote the words, then?"Barlow: "Me. And the music and the backing track."Martin-Smith: "Wow, you'd better come back and see me tomorrow."The ballad became one of the group's most popular songs, and is often voted among the greatest love songs of all time. It peaked at No. 7 in the UK charts, and remains a firm favourite, not just for its sentiment, but for the beautiful melody Barlow created.Lucy's arrangement for brass band brings a whole new dynamic to the music and offers the flugelhorn and tenor horns a golden opportunity to shine.
In Stock: Estimated dispatch 3-5 working days
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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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£179.50Fanfare and Chorale - Egil Hovland
This arrangement (or edition) for brass band will give the possibility for more performances of this fine work by Hovland. The composer, before his death, examined my work and made no suggestions for changes, and his approving comments were complimentary and encouraging. The work was originally written for Concert Band in 1966 as Op. 54a to St. Olaf College Band in the US. It was transcribed in 1967 for symphony orchestra as Op. 54b by the composer himself. The challenges in arranging the piece for brass band were mostly concerned with satisfactorily covering the upper register used by piccolo, flutes and clarinets, and while there are wonderful brass players around who have amazing high registers, I have aimed this edition at a level achievable by reasonably good brass band players who are willing to give time and effort into the proper preparation and delivery of the music. Having worked on this new edition with a top-class brass band, I think it sounds wonderful and interestingly different to the original. Besides the obvious differences of tone-colour and absent high notes, I have used in my scoring, the option for using a vibraphone in place of a celeste. Vaughan Williams, in his Variations for brass band writes for celeste, but because the instrument is quite rare, performances have been mostly given using a glockenspiel- but this, of course sounds two octaves higher than it was intended. I think that vibraphone and brass is an excellent combination and recommend it without hesitation in this piece. Every detail of articulation and dynamic has been considered, so in order to keep the integrity of the music, please do not change anything in the name of "interpretation". As Ravel says- "What is there to interpret?" Ray Farr
Estimated dispatch 5-14 working days
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