Results
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£25.00BA-Rock - Steve Robson
This can definitely be described as a fun piece from Steve Robson, with a bit of clever styling thrown in for good measure!With an initial, melodious theme written in the style of a 'Baroque' composition, it is then recreated in a modern 'Rock' idiom, joining the two extremes and presenting a great little number to brighten your concert programme.Whilst this already demonstrates one instance of its play on words, it's also worth noting that this composition also formed part of the writer's portfolio for his BA degree!Whilst written withfour percussion parts of Timpani, Kit, Tambourine, Glockenspiel & Cow Bell, the tambourine part can be omitted if necessary.
In Stock: Estimated dispatch 3-5 working days
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£15.00Capriccio Italiane - Tchaikovsky
Programme Notes by Andrew Duncan:This arrangement is fairly simple and the strong melodic and rhythmic lines should help introduce inexperienced players to the concept of playing in 3 time. The triplets in the 3rd cornet/trumpet part and the 1st Baritone/Euphonium/Trombone part (and in the tambourine part) are played in unison and will greatly help to move the rhythm forward.The tune is in the 1st cornet/trumpet part up until letter B when it is played by the horns (in unison) and in harmony by the 1st Baritone/Euphonium/Trombone part, so there is plenty for all to play throughout the piece.The Percussion part is written for a Tambourine, and although it is optional, it would add colour to a performance of the arrangement.The Flexi-Collection ApproachFlexible scoring tailored to your needs - A perfect solution for expanding the repertoire of training and junior brass bands. The Flexi-Collection currently offers two series - Popular Classics and World Tour. Based on four-part harmony, these collections provide groups with the advantage of complete flexibility when they may not be balanced. If players or instruments are missing, the show can still go on!The Flexi-Collection - Popular Classics Series, encapsulates all that is great about the wonderful range of musical styles produced by Holst, Elgar, Handel, Verdi, Tchaikovsky, Grieg, Bizet and Parry.The thoughtful scoring and arranging by Andrew Duncan now means that groups of all abilities have access to a truly flexible set of music for their needs. With world parts, rudimentary theory, terminology translations and large format typesetting, The Flexi-Collection ticks all the boxes when it comes to bringing interesting music to the training and junior band/brass group environment.Available individually or as part of the money-saving Flexi-Collection Popular Classics Album. Scored for Brass Band and supplied with additional Easy Bb, Easy Eb and world parts - The Flexi-Collection offers flexibility in every sense of the word.
In Stock: Estimated dispatch 3-5 working days
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£35.00The Cistercians
DescriptionThe Cistercianswas written during December 2003 and January 2004 as an entry for Morecambe Band's Centenary New Music Competition, which it went on to win. The first two performances were at the final of this competition, part of the band's 100th Anniversary Concert at The Dome in Morecambe on 9 July 2004.The music was inspired by visits to three of Britain's great Cistercian Abbeys; Valle Crucis, Fountains and Rievaulx. The Cistercian Order was founded at Citeaux in France in the 11th Century and was based on the principles of austerity, humility and piety. Cistercian Abbeys were deliberately sited in remote, difficult areas. Despite this many of them, especially Rievaulx, became immense centres of commerce and power, with ever more complex administration and hierarchies.In a way the music reflects this; all the material in the piece is derived from two simple motifs played by flugel and solo horn in the opening bars and becomes more complex and further removed from the original material as the piece develops. After a tranquil opening section a fugal chorale develops over a medieval-style "tenor" - a stretched out version of one of the original motifs. A burst of semiquavers leads into a faster, folk-dance type section - our medieval abbey has become a bustling trade centre - before rhythmic quaver pulses in the horns and cornets accompany powerful chords in the low brass; this is another "tenor" derived from the opening motifs. A short development section, including the folk dance "hocketing" round the band and a slightly disjointed 10/8 section leads to a restatement of the fugal chorale from the beginning before a frenetic coda brings the work to a triumphant conclusion.Performance Notes:Percussion instruments required are Bass Drum, Suspended Crash Cymbal, Glockenspiel, 2 x Tom-toms, Snare Drum, Tambourine, Tam-Tam, 2 x Timpani (G-C, C-F), Triangle, Wood Block. All cornets will require metal stratight mutes and all except soprano require cup mutes. All trombones require cup and metal straight mutes.Playable by 2nd section upwards; to view a sample PDF file of the score click here.
Estimated dispatch 7-14 working days
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£12.00Kopanitsa
DescriptionKopanitsa was commissioned by Gavin Pritchard, who is also the work's dedicatee and gave the first performance with the Tongwynlais Temperance Band conducted by Gareth Pritchard at the Butlins Mineworkers Championship on 20 January 2008, winning the prize for best soloist as a result. He has recorded it on the CD "Enter the Galaxies" accompanied by the Cory Band conducted by Robert Childs.Gavin had requested a virtuoso showpiece featuring as many instruments as possible. The solo part is therefore written for vibraphone (bowed and struck), 10 x tuned tom toms, 5 x suspended cymbals plus hi-hat and a xylophone. The soloist's 'choreography' therefore forms an integral part of the performance. This can be seen to great effect in Gavin's performance of the work at the 2013 Brass in Concert Championship with Tredegar Band, available on the DVD of the event from World of Brass. A 'kopanitsa' is a Bulgarian folk dance that traditionally features two slow beats and two quick beats, reflected in the central 10/8 section. The music is deliberately Balkan in character, using the characteristic modes of Greek and Bulgarian folk music, and accelerates regularly to finish at breakneck speed. The tom-tom section marked 'ad lib.' after [D] can be improvised if the soloist wishes.You can view a sample PDF file of the score here and the solo percussion part here.PercussionThe band percussion parts are written for timpani, snare drum, suspended cymbal, tambourine on a stand and bass drum. It is possible to combine these with the soloist part to make the work a feature for percussion trio and parts for this can be made available on request.MutesSoprano cornet, solo and 1st horn, 1st and 2nd baritone and euphoniums will require straight mutes (metal ideally). Soprano cornet, principal cornet, repiano and 1 x 2nd cornet, plus all trombones, will require cup mutes. Repiano, 2nd and 3rd cornet require harmon mutes with the tubes removed (indicated by 'TR').
Estimated dispatch 7-14 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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£35.87Finale - Suite No.3 (Brass Band) Tchaikovsky arr. Ruben Schmidt
This arrangement by Ruben Schmidt is the exciting polonaise finale from the last movement of Tchaikovsky's thrilling Suite No.3 in G Major for Orchestra. This was first performed in Saint Petersburg on January 12th, 1885, at the fifth symphony concert of the Russian Musical Society, conducted by Hans von Bulow. The suite also was Tchaikovsky's first American success when it was performed by the New York Symphony Society at Carnegie Hall on May 7,1891. First intended as its own symphony, it became the most played and most successful of Tchaikovsky's four suites. The finale of the last movement is an invigorating polonaise dance to finish the suite. Tchaikovsky often enjoyed conducting this final movement as an independent work himself. To view a rolling score video of the work please visit www.youtube.com/watch?v=M-Ht80Lnk-c Duration: 4.00 minutes Difficulty Level: 1st Section + PDF download includes parts and score. Sheet music available here. 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 (Tambourine, Suspended Cymbal & Bass Drum)
In Stock: Estimated dispatch 1-3 working days
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Blue | Gansch arr. John Doyle
A truly stunning piece of music written by the world famous Thomas Gansch of Mnozil Brass, and artfully arranged for Brass Band. The stage performance of this piece includes a Solo septet of three trumpets,tenor horn, two trombones and a tuba. The main band fills in the accompaniment. Trumpet 1 has a tricky part to play, but all other parts are straightforward. First performed by the Leyland Band at Music in Concert 2014, this is a real favourite, and a stunning show piece. Instrumentation: Solo Septet: Trumpets 1, 2 and 3 Solo Tenor Horn Trombones 1 & 2 Bb Tuba Main Band: Soprano, Solo, Repiano, 2nd and 3rd Cornets Flugelhorn 1st and 2nd Tenor Horns 1st and 2nd Baritone 1st, 2nd and Bass Trombone Euphonium Eb and Bb Basses Drum Kit Tambourine Bongos ISMN: 979-0-708127-94-9
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La Calinda | Delius arr. Leigh Sharpe
Taken from the opera 'Koanga' by Frederick Delius. Koanga is the hero of the opera, an African prince and voodoo priest stolen away and now working as a slave on a Mississippi plantation who falls in love with a fellow slave; Palmyra.This piece is a faithful arrangement of Delius's masterpiece for Brass Band, and features a well loved and catchy lyrical theme. La Calinda is not a simple piece to play, but well worth investing in.An excellent concert piece.Instrumentation:Soprano, Solo, Repiano, 2nd and 3rd CornetsFlugelhornSolo, 1st and 2nd Tenor Horns1st and 2nd Baritone1st, 2nd and Bass TromboneSolo and 2nd EuphoniumEb and Bb BassesTimpaniPercussion:1.Tambourine, Floor Tom2.Glockenspiel3.VibraphoneISMN: 979-0-708127-91-8
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£74.99Kingdom of Dragons - Philip Harper
The 'Kingdom of Dragons' is Gwent in South Wales, known in ancient times as the Kingdom of Gwent, and more recently home to the Newport Gwent Dragons Rugby Union team. This piece was commissioned by the Gwent Music Service with additionalfunding from Ty Cerdd - Music Centre Wales to celebrate the 50th anniversary in 2010 of the formation of the Gwent Youth Brass Band. Although the music is continuous, it is divided into four distinct sections, each one representing one of theunitary authorities which make up the County of Gwent. I. Monmouthshire, which has a large number of ancient castlesII. Blaenau Gwent, an historic area of iron and coal miningIII. Torfaen, where Pontypool Park is a notablelandmarkIV. Newport, the largest city in the region. The music begins with a two-bar fanfare, which sets out all the thematic material of the piece. The mood of pageantry that follows describes some of the ancient castles inMonmouthshire, with rolling tenor drums and fanfaring cornets. After a majestic climax the music subsides and quite literally descends into the coal mines of Blaenau Gwent. The percussion provides effects that suggest industrial machineryclanking into life, and the music accelerates to become a perilous white-knuckle ride on the underground railroad. There is a brief respite as a miner's work-song is introduced and, after a protracted build-up, this is restated at fortissimo beforethe music comes crashing to an inglorious close, much like the UK's mining industry itself. The middle sonorities of the band portray the tranquillity of Pontypool Park, a place of great natural beauty. Brief cadenzas for cornet and euphoniumlead to a full band reprise of the pastoral mood. At the end of this section we find ourselves at the top of the park's 'Folly Tower' from which the distant castle turrets of Monmouthshire are visible. Pontypool RFC was one of eleven clubs inthe first Welsh league in 1881 and a brief but bruising musical portrayal of the formidable Pontypool front-row, the 'Viet Gwent' leads into the work's final section. This portrays Newport, a symbol for progress and optimism for the future, idealsshared by the Gwent Youth Band itself. The music is a vigorous fugue which advances through various keys and episodes before the final triumphant augmented entry which brings the work to a magnificent conclusion. NOTES ONPERFORMANCEPercussion requirements: (3 players) Timpani, 2 Tenor Drums, 2 Tom toms, Snare Drum (sticks and brushes required), Bass Drum, Clash Cymbals, Suspended Cymbal, Hi-hat, Sizzle Cymbal, Tambourine, Metal block with metalbeater (eg hammer), Rattle (eg football rattle), Glockenspiel, Xylophone
Estimated dispatch 5-14 working days
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