Results
-
£37.50
Polish Adventures - Gavin Somerset
Composed for the All Saints Wind Band, Sheffield after their trip to Poland in the summer of 2003. This work reflects the different parts of the tour in four continuous movements... PROGRAM NOTES AS THEY APPREAR ON SCORE COVER I don't wish to ramble on with the program notes, do I do believe that if you know the story behind a piece of music, it just puts that extra something into the players performance. In 2002, the All Saints Wind Band, Sheffield, embarked on a 10 day tour of Poland. The group spent 28hrs on a couch packed with instruments, only to arrive finding Poland experiencing its worst summer in 70 years. In 2003, they decided to go back for another go! This time, luxury all the way, no 28hr coach journey, just a 1 1/2hr flight. This piece tells the story of the 2nd tour of Poland in four continuous movements... First the introduction. Early one morning, prepared for the drive to the airport, everyone tired, but excited. A day prior to this, some parents of the children set off in a van driving the instruments to the hotel, some 300 miles away. Bar 13 introduces the "Van" theme. Once arriving at the airport, the movements begin... 1. MORNING FLIGHT A very self explanatory part of the piece, and impressionist in its writing. Flying high over England and the channel, giving a sense of speed we were travelling at (compared to the poor lads in the van somewhere below us!) The Largo before F tells of the short coach journey to the hotel, and settling into what was our new home for 10 days. 2. IN THE STORM The weather was definitely an improvement on last year. So much so, that it became a regular event of the day to go and play rounders in a nearby field. This particular day however, with everyone concentrating hard on the game, it escaped everyone's attention that there was a very large storm creeping over the high mountain range near us. As the title of the movement suggests, the scene involved 25 of us running as fast as we could back to the hotel. Unfortunately, the heavy rain ran faster than us. 3. LAST MEMORIES As most of the people in the band were 18 this year, it was apparent that this would be their last event with the band. Many of the group had grown up together for the last 7 years and so, as the tour came to a close, there was a sense of sadness in the air, but everyone would always have the memories. 4. FINALE & HOME The van and the brave volunteers that went with it, set off the day before the rest of us flew home. This last movement reflect the whole tour, bringing back all the main themes from the different movements before arriving back at the school, just in time to see the van pull up. The "Van" theme makes its presence heard again towards the end. This piece was performed by the Wind Band at the leaving concert of many of the players in the band. I dedicate this piece to the band which is still functioning with new players, and to all those who took part on this tour.
In Stock: Estimated dispatch 1-3 working days
-
£24.50Three Little Maids - Arthur Sullivan - Bill Willis
The well-known aria from Gilbert & Sullivan's ninth operatic collaboration together, Mikado, is now available for band as a jolly, light-hearted cornet trio. Most people will instantly recognise the opening stanza as performed by the cornet trio, but the work holds much more. With some great detail in the inner band parts, this arrangement ensures that the work is not only a great piece for the players, but one that the audiences will love and soloists can enjoy. A must for all band's libraries.
In Stock: Estimated dispatch 1-3 working days
-
£10.00The Once and Future King
DescriptionThe Once and Future King is a suite of three movements; each movement was inspired by an Arthurian legend. The first movement, 'Tintagel', concerns the famous Cornish promontory said to be the birthplace of King Arthur. In Arthur's time, Tintagel was part of the court of King Mark of Cornwall and the music imagines a visit by the King of the Britons to his Cornish neighbour and the place of his birth, reflecting the ceremony and drama of such an occasion; the music is strongly antiphonal, contrasting the more strident fanfares of the cornets and trombones with the warmth of the saxhorns and tubas.The second movement, 'Lyonesse', takes its inspiration from the mythical land which once joined Cornwall to the Isles of Scilly. One legend claims that after the disastrous battle of Camlan where Arthur and Mordred were both killed, the remnants of Arthur's army were pursued across Lyonesse to Scilly, whereupon Merlin cast a spell to sink Lyonesse behind them and drown the pursuers. Some say the bells of the 140 churches inundated that day can still be heard ringing. All the material in this movement derives from two short motifs heard in counterpoint at the very beginning, which are intentionally dissonant and bitonal in character.The final movement, 'Badon Hill', takes its title from the legendary site of Arthur's last battle with the Saxons and is a lively toccata based on the medieval secular song L'Homme Armee ('The Armed Man'). The music uses a number of medieval devices including "hocketing" (passing melody from one voice to another). The actual site of Badon Hill is unknown but it has been associated with Badbury Rings in Dorset and a lot of evidence now points towards the town of Bath. Arthur's victory at Badon Hill was the last great victory for Celtic Britain over the Saxon invaders, but in the end only set the conquest back by a few decades. Arthur himself was dead by then, betrayed and defeated by his nephew Mordred, but it is said that Arthur only sleeps and will return in a time of dire need - hence the legend that Arthur's dying words were: Bury me in Britain, for I am the Once and Future King.Performance NotesWhere space and practicality permits the opening movement should be played with cornets and trombones standing behind the band facing the audience; they should retake their seats for the second and third movements.PercussionConcert Bass Drum (ideally NOT Kit/Pedal Bass Drum), Suspended Cymbal, pair of Clash Cymbals, Glockenspiel, Snare Drum, Tambourine, 2 x Timpani (Eb-G, Bb-D), 2 x Tom-toms, Triangle, Tam-Tam* (only if available), Tubular Bells *(only if available).MutesBaritones, all cornets and trombones will require metal straight mutes; all trombones and cornets will require cup mutes.*The Once and Future King was set as the test-piece for the 3rd section of the Swiss National Championships in 2007. The score was then slightly revised in July 2008, the main alteration being the exclusion of the tubular bells part for the Regional Championships of Great Britain in 2009. Some parts which were optional (or cued on other instruments) at the request of the Swiss Brass Band Association were restored to their original octaves and instruments. In 2015 the tubular bells part was restored in the optional Percussion 3 part; all parts in Percussion 3 are optional, although some are cued in the percussion 1 & 2 parts (and the cues should be played if only two players are available).Listen to a preview and follow along with the score below!
Estimated dispatch 7-14 working days
-
£15.00Perseverance
DescriptionPerseverance was commissioned by Middleton Band to mark their 140th anniversary in 2016, supported using public funding by the National Lottery through Arts Council England, and featured on Middleton Band's CD of the same name.The title is taken from the original name of the 1876 band, the Middleton Perseverance Drum and Fife Band. According to the band's historical records, the Drum and Fife band was formed by six Middleton youngsters eager to learn music but short of funds. Following a whip round, they visited a music shop in Oldham where they purchased a 'one key flute' for six shillings and sixpence, and ('later on') a drum.This determination to make music despite the odds has been a characteristic of the band ever since; at the end of the second world war the band was again down to six players, who rebuilt the 'Middleton Borough Band' back to twenty-six players. After a period of some considerable success throughout the sixties and seventies culminating in winning the National Third Section title in 1983 the band hit hard times again in the late eighties and was down to only four members in 1987 before again being brought back to life. In recent decades the band has built a strong relationship with the East Lancashire Railway, another organisation which has battled sometimes mighty obstacles in its struggle to survive, and has maintained a thriving and successful youth band.The band's will to survive through adversity is reflected in the music, which builds from a sextet of four brass and two percussion players three times, only to fall back to the sextet twice. In the central slow movement the bass drum plays a 'heartbeat' rhythm as the remaining players remember those lost in the war. The relentless pace of the final section culminates in the band triumphing over the adversity which has curtailed the previous two sections. As a former member of Middleton Band (and one of the team that regained the National Third Section title in 2007) it is my pleasure to dedicate this work to the 'Pop and Ale Boys', Middleton Band.You can read more about the piece here.To view the accompanying video by Andy Marshall, designed to precede the piece, clickhereand find out more about the link between the video and the music here.Recording with Score VideoPerformance NotesIn performance the four brass members of the sextet (soprano, solo horn, solo trombone and solo euphonium) should stand at the sides of the band - soprano and horn behind the cornets, trombone and euphonium behind the trombones. Percussion may stand with them at the conductor's discretion, but only if the band has TWO snare drums and TWO concert bass drums available, as these are also needed at the back of the band in the tutti sections. In the second sextet snare drum should be muffled with a heavy cloth OR have the snares turned off (not both).Percussion and mutesPercussion required:snare drum (muffled with a heavy cloth at one point)concert bass drum, kit bass drum, hi-hat, suspended (crash) cymbal2 x tom-tomswood blockclash cymbals3 x timpanitam-tamglockenspielSoprano cornet, repiano and 2nd cornets, flugel and all trombones require metal straight mutes. Soprano, Solo Cornet 3/4, Repiano 2nd and 3rd cornets require cup mutes. Solo Cornet 1/2, Repiano, 2nd and 3rd cornets require harmon mutes.
Estimated dispatch 7-14 working days
-
£119.99
The Binding of the Wolf Brass Band (Score & Parts)
This piece was commissioned by Nordhordland Brass Seminar in 1990 and written for a youth band. The title referes to a story from norse mythology. "The Binding of the Wolf" is not a programmatic piece of music, but I felt that there was a kind of coherence between the music and the dramatic story: "...The wolf Fenrir was one of the demonic offspring of Loki, and as he grew up in Asgard among the gods, he became so huge and fierce that only Tyr was willing to feed him. It was decided that he must be bound, and Odin in his wisdom caused the cunning dwarfs to forge a chain which could not be broken. It was made from the invisible and yet potent powers of the world, such as the roots of a mountain, the noise of a moving cat, the breath of a fish. When completed, this chain seemed to be no more than a silken cord, but the wolf refused to let it be laid upon him unless one of the gods would put a hand between his jaws as a pledge that it was harmless. Only Tyr was prepared to do this, and when the wolf found that the chain was unbreakable, the gods rejoiced, but Tyr lost his hand. The binding of the wolf may be seen as a means of protecting the world of men, as well as that of the gods, from destruction. The story of the god losing his hand appears to be one of the fundamental myths of nothern Europe..." 12:45
Estimated dispatch 7-14 working days
-
£119.99The Binding of the Wolf - Torstein Aagaard-Nilsen
This piece was commissioned by Nordhordland Brass Seminar in 1990 and written for a youth band. The title referes to a story from norse mythology. "The Binding of the Wolf" is not a programmatic piece of music, but I felt that there was a kind of coherence between the music and the dramatic story: "...The wolf Fenrir was one of the demonic offspring of Loki, and as he grew up in Asgard among the gods, he became so huge and fierce that only Tyr was willing to feed him. It was decided that he must be bound, and Odin in his wisdom caused the cunning dwarfs to forge a chain which could not be broken. It was made from the invisible and yet potent powers ofthe world, such as the roots of a mountain, the noise of a moving cat, the breath of a fish. When completed, this chain seemed to be no more than a silken cord, but the wolf refused to let it be laid upon him unless one of the gods would put a hand between his jaws as a pledge that it was harmless. Only Tyr was prepared to do this, and when the wolf found that the chain was unbreakable, the gods rejoiced, but Tyr lost his hand. The binding of the wolf may be seen as a means of protecting the world of men, as well as that of the gods, from destruction. The story of the god losing his hand appears to be one of the fundamental myths of nothern Europe..."
Estimated dispatch 5-14 working days
-
£25.95Hymn for Africa - Peter Meechan
Part of the Brass Band Aid SeriesBrass Band Aid is a Charitable Organisation formed by members of Stanhope Silver Band, based in the North of England. From an original aim to raise awareness of the Make Poverty History campaign in their local area, a brass band CD recording was planned. The initiative took on a whole new dimension when the collection of local bands performing on CD were then joined by, what is now known as, The Brass Band Aid Celebrity Band, made up of many of the top brass musicians in the country.Following the success of this initial project the Celebrity Band has come together again to record a new CD - "Into Africa". This is a compilation of pieces especially written for the recording by some of the most esteemed brass band writers of today. 'Hymn for Africa' is one such piece, generously contributed by Peter Meechan in support of the ongoing work of the charity."Hymn for Africa is inspired by the the release of Nelson Mandela in the early 1990's and the effect it had upon not only South Africa, but all over the continent of Africa, as well as the World as a whole. The fact that one man can achieve this with peace and great dignity will always be an inspiration, not only to me, but many, many millions of humans around the globe.sense of dignity and peace the composer . A simple 8 bar melody, first heard on an unaccompanied flugel horn at the beginning, is the basis of the composition. A drone is then added, before a chorale, and finally a rousing climax when the percussion and full band enter. The piece ends at it began, with a peaceful, unaccompanied, flugel solo." (Peter Meechan).All sets sold raise money for Brass Band Aid - a charity The Music Company has continued to actively support since 25.
In Stock: Estimated dispatch 3-5 working days
-
£49.95The Dark Side Of The Moon (Score and Parts)
This piece was commissioned by Dr. Nicholas Childs and Black Dyke Band on behalf of Rotary International and received its world premire performance at St. David's Hall, Cardiff on Saturday 27th January 2007. It is dedicated to the composer's father, Harry Cooper.The music was selected by the National Contesting Council as the 3rd section test piece for the 2008 Regional Brass Band Championships of Great Britain. A Note from the Composer...Have you ever thought of a holiday destination, tourist attraction, event, place, site or period in history and thought 'I wonder what it would be like?' - somwhere you have never been and can only let your imagination run wild on. What would the place be like, and all the things surrounding it such as the mood, feelings you get experiencing it, the temperature? Who would be there and what you would see? This piece is my musical imagination of the dark side of the moon. I know from news reports, the internet and other footage that the moon is a very desolate place, very barren and rugged. So from the start the piece gives the listener a musical picture of the rugged landscape with little light and warmth.However, the one place that has had me thinking about is the side of the moon that we don't see in our night skies, the side of the moon with no sun and no light pollution from civilisation. I can only imagine the eeriness one would feel being stood in complete darkness on the moon's surface looking around.As you slowly explore the surroundings and your eyes drift up to the night sky, there is an awesome sight unfolding in front of you - countless stars and galaxies, planets and different solar systems and all right in front of you glistening from the light of the sun beaming from the other side of the moon. The Dark Side of the Moon portrays a musical picture of the whole experience as seen in my imagination taking the listener from the rugged landscape to the awesome beauty that sits endlessly in front of you.Paul Lovatt-Cooper, September 2007
Estimated dispatch 7-14 working days
-
£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
-
£77.00General Series Brass Band Journal, Numbers 2250 - 2253, December 2024
2250: Prelude on 'Rhosymedre' (Ralph Vaughan Williams trs. Douglas Engle)The English composer Ralph Vaughan Williams' work Three Preludes (founded on Welsh Hymn Tunes) was published for the organ in 1920. This is a transcription of the second movement of that work. The words associated with the hymn tune are by Samuel Crossman, My song is love unknown (S.A.S.B. 149), and vividly depict the events of Holy Week. The music is gentle and solemn and would be appropriate for a Good Friday service or as a moment of repose in a concert. 2251: Hosanna Shuffle (Sam Creamer)The half-time shuffle groove is a popular feel developed by alternative rock/pop bands of the 1980s. It marries elements of rock and swing styles together to form a new and infectious feel - Hosannah Shuffle being written as a tribute to this fusion of musical styles. Contrary to a swing style, shuffle brings the pulse back onto the beat while maintaining the swung quaver rhythms to create a rock-type rhythmic drive. 2252: Everlasting Love (Keith Manners)This piece was written for the London North East Music School in 2004. The theme of the week was 'Making a stand for Christ', reminding the school that it only takes one person to make such a stand before others follow. The music starts with a lone Solo Cornet playing the melody of Graham Kendrick's song Such Love (S.A.S.B. 199). One by one, other parts join in with the theme.2253: Festival March (Michael Cooper)This piece represents the first published brass composition of Bandmaster Michael Cooper, who is the Bandmaster at Brisbane City Temple Corps. This imposing festival march features the tunes I want to be a soldier (T.B. 683), Lift up the banner (T.B. 90) and My Jesus, I love thee (T.B. 506). These tunes depict the idea that spiritual warfare is an essential component of one's faith, success of which is articulated in the final verse of My Jesus, I love thee (S.A.S.B. 878).
Estimated dispatch 7-14 working days
View Music