Results
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£50.90Finale from Orpheus in the Underworld
This series is for Brass Bands with a reduced number of playersThis series is without Repiano, 2nd Horn in Eb and 2nd TromboneParts included for:1 Eb Soprano Cornet5 Solo Bb Cornet3 2nd Bb Cornet2 3rd Bb Cornet1 Bb Flugel Horn1 Solo Eb Horn2 1st Eb Horn1 1st Bb Baritone2 2nd Bb Baritone (2nd Bb Trombone)1 1st Bb Trombone1 Bass Trombone2 Bb Euphonium2 Eb Bass2 Bb Bass1 Timpani2 Percussion/Drum SetOptional parts also included for:1 1st Trombone BC1 2nd Trombone BC1 Bass Trombone TC
Estimated dispatch 7-14 working days
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£50.90Runaway Baby
This series is for Brass Bands with a reduced number of playersThis series is without Repiano, 2nd Horn in Eb and 2nd TromboneParts included for:1 Eb Soprano Cornet5 Solo Bb Cornet3 2nd Bb Cornet2 3rd Bb Cornet1 Bb Flugel Horn1 Solo Eb Horn2 1st Eb Horn1 1st Bb Baritone2 2nd Bb Baritone (2nd Bb Trombone)1 1st Bb Trombone1 Bass Trombone2 Bb Euphonium2 Eb Bass2 Bb Bass1 Timpani2 Percussion/Drum SetOptional parts also included for:1 1st Trombone BC1 2nd Trombone BC1 Bass Trombone TC
Estimated dispatch 7-14 working days
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£50.90
A Winter's Tale
Written at the request of David Essex, this song spent ten weeks in the UK singles chart, peaking at number 2 in January 1983.
Estimated dispatch 7-14 working days
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£89.95Songs of Ascent - Jonathan Bates
DURATION: 14 minutes. DIFFICULTY: Championship. 'Songs of Ascent' was composed for the Royal Northern College of Music Brass Band, as part of their programme for the 2019 RNCM Festival of Brass. In my view, the festival itself is the leading showcase for original contemporary music for the medium (in a concert setting) in the world and therefore an ideal place to explore new ideas and sounds, which was a notion fundamental to the construction of this work. The piece is subtitled 'Out of the Depths, I cry to you, O Lord'; the opening line of Psalm 130 (which forms part of a set of 15 psalsm, 120-134 known as the Songs of Ascent") which forms the main inspiration for much of the musical material. Following an extended opening for four individual tuba lines, there are a number of solos for members of the band off stage, with bleak and deep accompaniment lines, reflecting the words of Psalm 130. Amongst these 'songs of ascents', the most common and strong themes are repentance and redemption; with the central core of this work emerging 'from the depths' to reveal one of very few calming and reflective passages of the work utilising the tune of 'Guide Me O Thy Great Redeemer' in a new setting, featuring the Solo Horn and Bass Trombone, before returning to the ethereal and dark timbres that form much of the music up to this point. In terms of compositional technique, this work is solely based on a set of 4 9-note scales in their various unique transpositions (below). Each of these scales provide a set of 2 whole tone scales, 6 minor triads, 6 major triads and is built on 9 augmented triads. Whilst most of the music in this work is based melodically on the set of notes (heard right at the outset in the motif in the tuba line), the central section delves into the harmonic capabilities of these 'modes', using a number of the 7 'keys' which can be derived from the minor & major chords derived in each scale. All 4 scales are used independantly to each other, with whole sections of the work focussing on each mode. 'Songs of Ascent' was selected as the set work for the Championship Section at the Butlin's Mineworker's Championships in 2020.
In Stock: Estimated dispatch 1-3 working days
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£35.00Ascension - Lucy Pankhurst
A major work written for the RNCM Brass Festival Competition 2005, and inspired by the nature of Ascension - creating a Musical depiction of the spiritual journey towards enlightenment, sanctuary and ultimate inner peace.As aninitial muse for this work, the 'Tibetan Singing Bowl' is utilised with the Brass Band in order to represent this path to Serenity, together withBaoding Balls(Chinese Health Balls) to mark the point of Final Ascension.Programme notes from the composer, Lucy Pankhurst:Ascension is a Musical depiction of the Spiritual Journey towards enlightenment, sanctuary and ultimate inner peace.As my initial muse for this work, the Singing Bowl is utilised with the Brass Band in order to represent this path to Serenity. "Tibetan" Singing Bowls date back to the 8th Century A.D., originating in the pre-Buddhist shamanic Bon Po culture in the Himalayas and are still used in modern Monasteries. The original purpose of them still remains a mystery, with accounts stating that it is forbidden to disclose the true function of the Bowls, as the "secrets of sound" yield so much Power, that they must be kept hidden.Listening to the tones created by the Singing Bowl effectively silences the internal dialogue of the listener, making it an excellent tool for Meditation, Centering and entering trance-like states. In Buddhism, as with many cultures, sound is an important part of Spiritual Practice. There are 9 methods to reach Enlightenment in the Buddhist Doctrine ; the seventh is SOUND.These Bowls are used by Healers in a similar way to help balance the body's residual energies. The Bowls are usually made from seven different sacred metals, intended to correlate directly to the seven sacred "Planets" : GOLD (Sun), SILVER (Moon), MERCURY (Mercury), COPPER (Venus), IRON (Mars), TIN (Jupiter), ANTIMONY (Saturn). Any one Bowl can create up to seven different frequencies (tones) simultaneously. In Healing, the Singing Bowl is played whilst balanced on the palm of the hand, struck three times to stabilise the surrounding energies, before rotating the wooden "beater" around the outer circumference of the Bowl to create the "singing" effect.I have included an optional Vibraphone part (to be played with a Double Bass Bow) with Tubular Bells, to be used only in performances where a Singing Bowl cannot be acquired. However, a traditional Bowl should be used whenever possible, to create this specific and unique sound.Baoding Balls or Chinese Health Balls are also utilised in this work. Their appearance in the Music here, however, is to mark the point of Final Ascension, where the music reaches its ultimate goal. These delicate cloisonne iron Balls are said to stimulate the acupressure points on the hand, thus improving the Chi and Energy Paths (Life Force) throughout the entire body. The delicate "tinkle" produced by these spheres is hypnotic and captivating. For this reason, where no Baoding Balls are obtainable for performance, only delicate metallic percussion should be used in replacement (i.e. Crotales, Antique Cymbals or (liberal) single strikes on a Triangle etc.). Bell Trees, Wind Chimes and Cow Bells should not be used.As in many cultures, the number three is important in Ascension, as it represents not only the purification from the Singing Bowl, but also it is a number of confirmation, reiterated throughout the music in the metallic percussion in addition to the Brass, re-affirming the correct path to Enlightenment.
In Stock: Estimated dispatch 3-5 working days
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£60.00Music from the Royal Fireworks - G. F. Handel arr. Don Blakeson
Handel's Music For The Royal Fireworks was composed in 1749 to celebrate the signing of the Treaty of Aix-la-Chapelle and the end of the War of the Austrian Succession. The site chosen was the fashionable upper part of St. James Park, which was becoming known at that time as Green Park. The Green Park 'Machine', which housed the pyrotechnics was an elaborate affair adorned with "statues and other figures, festoons of flowers, and other lustres".It was announced that there would be some 10,000 rockets and other devices to be let off, all culminating in a grand, burning sun with 'Vivat Rex' at its centre. There were also rumours that the event was to be accompanied by an impressively large band of military music and mention was made of "40 trumpets, 20 french horns, 16 hautboys (oboes), 16 bassoons, 8 pairs of kettle drums, 12 side drums, a proper number of flutes and fifes; with 100 cannon to go off singly at intervals". It is unlikely that Handel had ever conceived such forces and it was merely the promoter's hyberbole, not least because it was unlikely that there were sufficient numbers of extra military musicians available that could read music, as most played from memory. It is also likely that Handel, and his publisher, were conscious that future performances would be hindered by such forces. The autographed score lists the instrumentation as 9 trumpets, 9 french horns, 24 hautboys, 12 bassoons, 3 pairs of kettle drums and up to 4 side drums.The work is in five movements, although Handel's original score did not indicate in which order they should be played. However, in this score they are arranged to be played as follows: Overture, Bouree, La Paix, Minuets I & II and La Rejouissance.Duration: c. 19 minutesDifficulty: Suitable ofr all
Estimated dispatch 5-7 working days
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£71.84Pyrenean Carol Suite (Brass Band) David Taylor
This attractive suite for brass band by David Taylor features five traditional carols from the Pyrenees region of Spain, as follows: i. Nadal Tindaire (Jingling Christmas) - Occitan traditional This Occitan Christmas song tells of musical instruments used to celebrate the Nativity - 'fifes and trumpets, timpani and pipes, or you, clear little bells, along with the angels' choir.' ii. Gabriel's Message (Birjina Gaztetto Bat Zegoen) - Basque traditional The most widely-known of the chosen carols, honouring Jesus's mother Mary, this is often sung in its English version, but the melody came from the Basque country. The Basque words were adapted from the Mediaeval song Angelus ad Virginem. Here, we feature the flugel horn. This movement was originally written on its own, with organ accompaniment, for the composer's wife, Diane Scott. iii. El Noi de la Mare (The Child of the Mother) - Catalan traditional A beautiful Catalan carol celebrating the birth of Jesus, telling of the tasty gifts that the singer would bring - 'Raisins and figs and nuts and olives; Raisins and figs and honey and mato [a Catalan dessert cheese traditionally served with honey.]' Here we feature the euphonium. The tune was made famous by guitarist Andres Segovia, who used it as a favourite encore, and by John Rutter, who made a widely-used setting for choir. iv. Paure Satan (Poor Satan) - Occitan traditional This rather unusual carol tells of the pain that Satan is put to by the arrival of the infant Jesus. Its mocking and sarcastic tone is reflected here, where the tuba soloist (as Satan) is given musical trouble throughout by the other parts. At first they conflict with the soloist, then the soloist makes overtures of friendship, which are treated with suspicion followed by contempt. The soloist finally gives in to their accompaniment (or do they?). There are plenty of opportunities for little theatrical touches here, if the tuba player is so inclined! The tuba part in this movement is notably more difficult than the rest of the music, and a number of optional changes have been marked to make the part easier to play, if so desired. The player is also welcome to add suitable extra embellishments to taste if they wish, within the character of the music. v. Fum, Fum, Fum! - Catalan traditional A favourite Catalan Christmas song for centuries, this rousing melody provides a fitting way to round off the suite, with its repeated rhythmic refrain of the nonsense title phrase. It tells of the Nativity, and then it tells of the celebratory feasting and good times that the singers look forward to to honour it. Although the suite is intended to be performed whole, it is also intended for usage with a selection of movements on occasions where a shorter piece is wanted. Suggested formats include a single movement alone (2, 3, and 5 are likely most appropriate), a pair of movements (any of the first four, plus 5), and a suite of three or four movements (1 and 5, plus one or two of 2, 3, or 4 in the middle). It is suggested that a good way to design a 'pick-your-own-suite' from the movements is to think of the earlier movements as introductory to the final movement. To view a rolling score video featuring Kidlington Concert Brass please visit www.youtube.com/watch?v=QIGdul-yxxg PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 3rd Section + Length: 9.45 minutes 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 Timpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£79.95Amundsen - Jonathan Bates
DURATION: 14'00". DIFFICULTY: 1st+. 'Amundsen' was commissioned by rskog Brass, Norway for their winning performance at the 2020 Norwegian National Championships held at the Grieghallen in Bergen. In December 1911, Norwegian Roald Amundsen gained global fame by becoming the first explorer to lead a team to the geographic South Pole. Amundsen and 4 other members of his team arrived 5 weeks ahead of a rival team from the UK led by Robert Falcon Scott, all of which perished on their attempted return from the pole. Initially when Amundsen's team set out in 1910, they were under the impression that they would be making the far shorter journey to the arctic drift to attempt to reach the North Pole, but Amundsen had received news that American explorers Peary and Cook had beaten them to this goal, and so Amundsen's focus changed southward. 'Fram, Forward' - 'Fram' (translating to English as "forward") was the name of the ship Amundsen used for this particular polar expedition. Amundsen had only informed 2 people of his real intentions of conquering the South Pole when the ship first left port in Kristiansand before heading south to the Portuguese island of Madeira in the Atlantic Ocean. After weeks at sea - causing the uninformed members of the crew to raise a number of questions and produce a general feel of uncertainty and low spirits - it was here that Amundsen announced his true plans to the rest of his crew. They were asked whether they wished to continue with their expedition, to which all - some begrudgingly - agreed to sail on to the South Pole, through the great Ice Barrier before docking in the Bay of Whales on the Ross Ice Shelf. 'Ross Ice Shelf' - Upon Amundsen's arrival in the Bay of Whales, the team were greeted by the sight of the enormous ice plateau's and glaciers, towering into the Antarctic sky. In 1907, Ernest Shackleton had attempted - and failed - to reach the South Pole, but his route and mapping was by now well documented. Scott and the UK team were to follow this route, whereas Amundsen and his men forged their own way to the pole through unchartered territory and deadly terrain littered with deep crevasses and canyons. The music here though, is a picture of tranquility. The eerie silence of total emptiness with only the heavy snow falling around Amundsen as Fram and the Bay of Whales disappears into the distance, faced by the maginute of the expedition ahead. 'Advance to Polheim' - The first new challenge Amundsen discovered on this route was a rough, sharp and extremely steep glacier (which was later named the Axel heiberg Glacier after the Norwegian monarch who funded much of the expedition), which would take his team up from sea level to an altitude of over 9,000ft in just 20 miles, with most of this over just 7 miles. Once scaled, only the vast Antarctic Plateau stood between Amundsen and the pole. Here the race began, with only one aim - victory for himself, his team, and for the whole of Norway. .
In Stock: Estimated dispatch 1-3 working days
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£29.95Boy King, The - Jonathan Bates
DURATION: 3'00". DIFFICULTY: 4th+. . 'THE BOY KING' is a short concert work for brass band inspired by the life and times of the ancient Egyptian Pharoah, . Tutankhamun. It was believed he was between the ages of 8 and 9 years old when ascending to the throne of Egypt and. reigned for a decade until his premature death aged only 18 or 19. The music utilises a number of typical middle-eastern. modes and scales accompanying a heavy yet lively rhythmic pulse driven by the percussion. .
In Stock: Estimated dispatch 1-3 working days
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£57.50Winter Wonderland (Brass Band - Score and Parts) - Bernard & Smith - Sparke, Philip
This enduringly popular seasonal song has long been a Christmas favourite, even though the lyrics don't mention 'Christmas' at all. The words were by Dick Smith (1901-1935) and the music by Felix Bernard (1897-1944). The inspiration was reportedly a visit by Smith to Honesdale's (his hometown) Central Park when it was covered in snow. The first recording was made by Richard Himber's Ritz-Carlton Orchestra in 1934. The same year Guy Lombardo and his band, The Royal Canadians, took the song to number 2 in the US Billboard Chart, where it stayed for 9 weeks. It has since been recorded by over 150 artists, the most successful versions being by Perry Como and the Andrews Sisters, both released in 1946.Duration: 4.00
Estimated dispatch 10-21 working days
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