Results
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£10.00Perseverance
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
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£39.58A Fugal Overture (Brass Band) Gustav Holst arr. Rob Bushnell
A Fugal Overture was written in 1922 by Gustav Holst. It was first performed at the Royal Opera House, Covent Garden on 14 May 1923 and was used as an opening work to Holst's one-act opera The Perfect Fool. It received its concert premiere on 11 October 1923 at one of Henry Wood's Queen's Hall Promenade Concerts. It is an early example of neoclassicism and was influenced by the counterpoint of J. S. Bach, despite its unconventional use of the fugal process. Holst began writing the piece in the summer of 1922, having hoped to develop it into a ballet. It is divided into three sections, the fugal subject with its distinct 3+3+2 pattern, a slower section with solos at the end, and a third section where the subject returns. Although reviews of the piece were mixed at the time of its premiere, the likes of Adrian Boult have said it was "an invigorating work that could effectively start any [...] concert". In more recent years, it has been compared to John Adam's A Short Ride in a Fast Machine. This arrangement is for the British-style brass band, with alternative parts for horns in F and bass-clef lower brass. A recording of the original composition can be found here: www.youtube.com/watch?v=a8xfwJyFq2E. Duration: Approx. 5.40 minutes Difficulty Level: 1st Section + PDF download includes parts and score. Sheet music available from www.brassband.co.uk 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 BbTimpani Percussion 1-2
In Stock: Estimated dispatch 1-3 working days
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£54.95WORLD WITHIN, A (Brass Band Parts) - Scott, Andy
Brass Band parts only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£20.00
WORLD WITHIN, A (Brass Band Score) - Scott, Andy
Brass Band score only. 'A World Within' is a one-movement work that starts with a simple theme stated by the Soprano Cornet before an ostinato figure in 6/8 time emerges (Vibraphone, Horns and muted 2nd and 3rd Cornets) over which firstly Solo Cornet, and then both Solo Cornets (1 & 2), play a sustained melody. A shift between major and minor harmonies characterises the 'B' section, before making way for a virtuosic Flugel solo. When the Flugel leaves centre stage the front line Cornets take over, leading to a full bodied reprise of the 'B' section. The low brass bridge the gap between what is in effect the end of the first main section of the piece and the second section. The constant time shift between 3/4 and 6/8 that has been prevalent through-out 'A World Within', re-emerges towards the end of the 'slow, heavy blues' section, leading into an intricate almost fugue-like passage (Horn and Baritone leading the way). Out of this comes a short transitional bridge section that leads us back to the (transposed) original 6/8 time theme and feel, this time scored with a bold directness that leads to a powerful 2/4 time passage. The climax of 'A World Within' is heralded by one dark and dissonant chord that is repeated three times. A flashback moment occurs where the 'hymn' is stated (muted Cornets) in a bitonal harmonic world. A final statement emerges from the denseness of sound, a re-working of the initial theme (Solo Cornet), with the last work being left to Solo Eb Bass. Dur: 13:00
Estimated dispatch 7-14 working days
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£70.00
Shine - Peter Meechan
Shine is my second large scale work for solo tuba, following on from my concerto Episodes and Echoes. Like the concerto, Shine was commissioned and premiered (with the Grimethorpe Brass Band, conducted by Howard Evans) by Les Neish - the title being an anagram of the soloist surname.Although in one movement, Shine has 3 broad sections, each requiring virtuosic skill and dexterity from the soloist. The opening section features lots of bright, metallic sounds - especially in the percussion section - providing the accompaniment to soloist as they demonstrate the range and flexibility of the tuba.The second section gives the soloist the opportunity to demonstrate the considerable lyricism that the tuba is capable of. The solo line weaves in and out of textures in the accompaniment, exchanging snippets of melody with other players in the ensemble.After a short unaccompanied passage, the final section emerges juxtaposing new solo lines and material from the opening section. This builds in momentum - and difficulty for the soloist - as the piece reaches its climatic ending.Shine is dedicated to my good friend, fellow Liverpool supporter, and amazing musician, Les Neish.Peter Meechan, 2011
Estimated dispatch 12-14 working days
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£35.62March - Helping Hands (Rob Bushnell) Brass Band
Helping Hands was written for the British Bandsman March Composition Contest, entered into category 2 (marches for 3rd/4th section bands). The piece is loosely programmatic in nature: The introductio is fanfare-like, announcing the date of the next Whit Friday Contests and the bands' anticipation of and preparation for the event. The first section is the march of the volunteers, as they descend upon the many venues, ready to run the contests. The second section (bars 35 to 52) sees the contests start. The bands strike up, march, finish and go from place to place, whilst the volunteers manage them, the audiences, and all manner of issues and problems thrown at them. The third section (bars 53 to 69) represents the bad weather which has, at times, presented itself on that particular Friday. But everyone carries on (possibly the sun comes out) and we enjoy the day. The trio uses the hymn St. Vincent by Sigismund Neukomm: St. Vincent de Paul is the patron saint of charities and volunteering, hence its use here. The piece is influenced by marches that are commonly heard during the Whit Friday March Contests, using motifs, rhythms and harmonic progressions (sparingly) throughout the piece. March-card sized parts included, with alternatives for horns in F and lower brass in bass clef. To view a rolling score video of the piece please visit www.youtube.com/watch?v=diqDoe0XpcA PDF download includes score and parts. Sheet music available from: UK - www.brassband.co.uk USA - www.cimarronmusic.com Difficulty Level: 3rd Section + Length: 3.50 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 Drums
In Stock: Estimated dispatch 1-3 working days
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£33.00Los Canarios (Brass Band - Score and Parts) - Sanz, Gaspar - Powell, David
Originally written by "The Master of the Spanish Baroque Guitar" Gaspar Sanz in the late 17th century, David Powell's brilliant updated arrangement regularly features on Superbrass programmes as an encore item. It's got a really great catchy tune that completely permeates the brain cells. It also has an open middle section that allows for the drummer and/or perc section to let their hair down and go ape.... Guaranteed to get your audience's feet tapping and hands clapping. Duration: 3.00. Suitable for 3rd Section Bands and above.
Estimated dispatch 7-14 working days
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£40.00Nightingale Dances - Matthew Hall
Matthew Hall Nightingale DancesNightingale Dances opens with a mellophonium-esque ensemble sound of 5 flugel horns, 3 tenor horns and trombones inspired by the Manhattan Transfer version of A Nightingale Sang in Berkeley Square, leading into a fast quickstep section for full band.Solo flugel horn takes the lead into the paso-doble middle section of the piece before the original opening to A Nightingale Sang in Berkeley Square becomes the main focus in the euphonium and baritone.A big build up into the final kit-led Hollywood-style show dance section with a half tempo feel ends the work with a real thumping ending to any contest or concert performance.Matthew Hall Nightingale Dances
Estimated dispatch 5-7 working days
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£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
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£35.62Prelude in C-sharp Minor (Brass Band) Rachmaninoff arr. Rob Bushnell
One of Sergei Rachmaninoff's most famous compositions, Prelude in C-sharp minor (Op. 3, No. 2) is part of a set of five pieces entitled Morceaux de fantaisie. It was written when Rachmaninoff was only 19 years old and was first performance by the composer on 26 September 1892 at a festival called the Moscow Electrical Exhibition. This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. The piece has been transposed from the original (for piano) of C-sharp minor to A minor, which better suits a brass band. There is another arrangement of this piece by Sandy Smith (published by Obrasso) which is designed for more advanced ensembles. A recording of the original composition can be found here: www.youtube.com/watch?v=mXGSfJn3nKQ Duration: Approx. 3.40 minutes Difficulty Level: 3rd Section + PDF download includes parts and score. Also includes alternative parts for horns in F and lower brass in bass clef. Sheet music available from www.brassband.co.uk 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 Percussion 1-3
In Stock: Estimated dispatch 1-3 working days
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