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£79.95Lost Village of Imber, The - Christopher Bond
The village of Imber on Salisbury Plain had been inhabited for over one thousand years when it was evacuated in 1943 to make way for military training in the Second World War. At the time, with preparations for the Allied invasion of Europe underway, most villagers put up no resistance, despite being upset, with the belief that they'd return once the war had concluded. To this day, Imber and its surrounding land remain a military training ground. The villagers never returned, and just the shell of what was once a community remains. Structured in three movements, it is on this very real story that the work is based, setting out the series of events of 1943 in chronological order. The first movement, On Imber Downe, portrays a sense of jollity and cohesiveness - a community of individuals living and working together before news of the evacuation had broken. Sounds of the village are heard throughout, not least in a series of percussive effects - the anvil of the blacksmith; the cowbell of the cattle and the bells of the church. The second movement, The Church of St. Giles, begins mysteriously and this sonorous, atmospheric opening depicts Imber in its desolate state and the apprehension of residents as they learn they have to leave their homes. Amidst this is the Church, a symbol of hope for villagers who one day wish to return, portrayed with a sweeping melodic passage before the music returns to the apprehension of villagers facing eviction around their sadness at losing their rural way of life. In complete contrast, the third movement, Imemerie Aeternum, portrays the arrival of the military, complete with the sounds of the ammunition, firing and tanks - sounds which were all too familiar to those living in the surround areas. To close, the Church of St. Giles theme returns in a triumphant style, representing the idea that the church has always been, even to this day, a beacon of hope for the villagers and local community - both the centrepiece and pinnacle of a very real story. The work was commissioned by Bratton Silver Band in celebration of the band's 160th Anniversary, with funding from the Arts Council National Lottery Project Grants Fund and the Brass Bands England Norman Jones Trust Fund.
Estimated dispatch 5-10 working days
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£29.50REM-Scapes (Brass Band - Score only) - Doss, Thomas
Sweet echoes of Beethoven's Moonlight Sonata in the introduction bring a gentle slumber. Breathing is calm and sleep holds the promise of rest and relaxation. With the onset of the REM sleep phase, however, in which most dreams take place and where the day's events are worked through, we hear other sounds played. With distorted sounds, reminiscent of an old gramophone, the music pulls the listener inevitably ever deeper into the dreamscape, in a very realistic dangerous situation that comes to a dramatic head. It triggers a desperate struggle between the impulse to awaken and the exhausting urge to flee. For a short moment, it seems as if the wakeful urge has won out, before dream's powerful spell is again cast, and there's no escapeDuration: 17:00
Estimated dispatch 7-14 working days
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£154.99
REM-Scapes (Brass Band - Score and Parts) - Doss, Thomas
Sweet echoes of Beethoven's Moonlight Sonata in the introduction bring a gentle slumber. Breathing is calm and sleep holds the promise of rest and relaxation. With the onset of the REM sleep phase, however, in which most dreams take place and where the day's events are worked through, we hear other sounds played. With distorted sounds, reminiscent of an old gramophone, the music pulls the listener inevitably ever deeper into the dreamscape, in a very realistic dangerous situation that comes to a dramatic head. It triggers a desperate struggle between the impulse to awaken and the exhausting urge to flee. For a short moment, it seems as if the wakeful urge has won out, before dream's powerful spell is again cast, and there's no escape...Duration: 17:00
Estimated dispatch 7-14 working days
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£34.95
The Southern Cross (Brass Band - Score and Parts) - Bowen, Brian
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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£17.50
The Southern Cross (Brass Band - Score only) - Bowen, Brian
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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£45.99Christmas Carillion (Brass Band - Score and Parts) - Curnow, James
This sparkling arrangement of Ding Dong Merrily On High is full of the festive sounds of bells that ring from church steeples, street corners, and stores throughout the holiday season! It's a vibrant work that captures the jubilant and triumphant sounds of Christmas! Wonderful!Duration: 2.45
Estimated dispatch 7-14 working days
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£74.99
Animal Kingdom Brass Band (Score & Parts)
In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with "special effects", Animal Kingdom contains many educational elements, such as playing in swing (triplets feeling), chromatics, flutter tonguing, gypsy tuning, varying keys, and, of course, dynamics and articulation. The melodic lines occur in all four voices, as well as in all percussion parts, providing each musician with the opportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore very expressive, containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds, but the percussion section is also featured in his special effects. The world of the animals always plays on ones imagination. In Animal Kingdom, William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style also emphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal, but for Eduard (Eddy for friends and intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys, accompanied by special effects in the percussion section. Curtis Camel - Curtis the Camel trudges across the desert, feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. Betty Butterfly - Butterfly Betty elegantly, and without worries, flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A "swing" monkey stirs up the feelings. Even members of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing "in swing" (triplets feeling). This can be practised using scales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. "New" sounds are, of course, welcome. Curtis the Camel introduces the gypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swing rhythm that was introduced in the first part, alternated by a "straight" part with attention to chromatics and articulation. A story teller will definitely be an asset when performing this composition. 07:30
Estimated dispatch 7-14 working days
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£89.99
Ross Roy (Brass Band - Score and Parts) - De Haan, Jacob
In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life.Duration: 9:20
Estimated dispatch 7-14 working days
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£20.00
Hybrid - Geert Jan Kroon
Hybrid is a solo work for euphonium and track. The musical material is taken from the name of client. Hybrid means as much as a close mixing of disparate things. In this case, a cross between live euphonium/performer and recorded sounds of a euphonium/performer. The emphasis lies on various forms of breathing and other sounds the euphonium can produce.
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£34.95
SOUTHERN CROSS, The (Brass Band Set) - Brian Bowen
The Southern Cross is one of several excellent marches by Brian Bowen in which he carried on the more sophisticated pattern of British marches by Wilfred Heaton, Leslie Condon and Ray Steadman-Allen. It was written for the Box Hill (Australia) Corps jubilee celebrations in 1970 and formed part of the band's repertoire when it toured Great Britain in the same year. The first half of the march features part of the song, 'March on!' by Klaus Ostby, an early pioneer of Salvation Army music in Scandinavia. The contrapuntal layering of melodies in the trio, especially in the finale where 'March on!' sounds one more triumphant time, is notable, as is the shift to a slower, more stately tempo. The harmonic and rhythmic style also represents the more modern sounds of Salvation Army brass band music in the late 1960s and early 1970s. Right from the opening gestures, listeners at early performances knew that a page had turned in the evolution of the Salvation Army march.
Estimated dispatch 7-14 working days
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