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£77.00General Series Brass Band Journal, Numbers 2238 - 2241, December 2023
2238: Fanfare and allegro on the Doxology (Steve Kellner)The Doxology, set to the tune Old Hundredth (T.B. 31), is used widely around the world by Christian denominations, including Salvationists. This concert opener is based on the short but powerful hymn of praise to the Triune God.2239: To the endless day (Kenneth Downie)This is a meditation on the hymn tune Ruth (T.B. 191), written by Samuel Smith. It is a particular favourite of Don Jenkins, whose late wife was also called Ruth. This music is dedicated to Don, a distinguished trombone soloist and former Band master of Bristol Easton Corps Band.The music is always associated with the hymn by William Walsham How, whose words begin 'Summer suns are flowing over land and sea' (S.A.S.B. 59) with the title coming from the end of the final verse.2240: Euphonium Solo - He giveth more grace (Ray Steadman-Allen)This 1996 arrangement of Blacklands (T.B. 527), the composers own hymn tune written in 1963, is being published posthumously. The hymn tune sets the words 'He giveth more grace as our burdens grow greater' (S.A.S.B. 30) with an emphasis on the generosity of God.2241: The Calvary effect (Ian Clarke)Around AC 30, on a hill often refered to as Mount Calvary, an event took place that was to change the world forever. The Calvary effect is a reflection, in musical form, on that event and what it still means to people today. If features two tunes: first, in a quiet reflective mood, we hear the highly emotive Healing Stream, associated with the words 'Jesus, keep me near the cross; There is a precious fountain' (S.A.S.B. 178). This then makes way for the chorus; 'Lord, make Cavalry real to me' (S.A.S.B. 182), which is at times indistinct and almost lost in its surroundings, reflecting the sentiments of the chorus. A return to the main tune follows, this time in a positive, passionate setting. The music finishes with a triumphant 'Hallelujah!'.
Estimated dispatch 7-14 working days
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£44.95Road to Run
The piece starts with a simple rhythmic pulse which is the basis of the entire work. This cell provides a platform for the piece to grow and develop starting with the first theme played by the euphoniums, all the way through to the conclusion performed in full gusto by the whole ensemble. The various motifs introduced throughout the opening of the piece are passed between the ensemble before the introduction of the three soloists.The central section of the piece features the Solo Trombone, Cornet and Euphonium as they take turns to play a jazz fusion solo whilst having some musical interplay with each other at the front of the stage. After this solo passage, the music then features the various sections within the ensemble, which pays homage to Weather Reports' famous "Birdland". In a jazz fused cannon, each new independent musical phrase is performed by the various sections standing. Starting with the Horns then Solo Cornets, Back Row and Flugal and finally the Baritones and Trombones.Once the different sections of the ensemble are featured, the piece then moves into the final stages. This section sees a reprieve of the opening material heard at the beginning, but further developed with the various melodic motifs passed around the ensemble. The ending builds on this material towards a rousing conclusion."Road to Run" is an up tempo, high energy concert work that has that 'feel-good factor' from start to finish. The idea behind the title is based on the feel and structure of the piece which takes the listener on a musical journey. And at 150 beats per minute - you could put it in your headphones and find your own 'Road to Run'.
Estimated dispatch 7-14 working days
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£29.95Unity Series Band Journal February 2014 Numbers 414-417
No.414 March - Zambia Salute (Paul Drury)In April 2009, a group from Chelmsford Citadel Corps visited Zambia. The purpose of the visit was to assist in the leadership of the Zambian Territorial Music School, held at Chikankata. This march was written to commemorate the event and received its premiere performance at the final festival. The melody featured is the chorus of the song, I know not why Dod's wondrous grace (S.A.S.B. 730).No.415 A Joystrings sing-along (Erik Silfverberg O.F.)This piece represents the first published work since the sudden Promotion to Glory of Bandmaster Erik Silfverberg O.F. The Joystrings made Salvation Army history about fifty years ago, introducing rock music on the Christian music scene. Many of their songs have become classics and have been used as thematic material in our brass music. Here is a selection of three of their songs, to be used either as a band piece or as accompaniment to a sing-along. The three songs are:- 'I want to sing it', 'It's an open secret' and 'Have faith in God'.No.416 Festival Arrangement - At the cross (Martyn Thomas)The well-known song, 'At the cross' (T.B. 580), is given a lively new setting by Martyn Thomas. The rock and swing treatment of this old melody should appeal to many!No.417 Lord of all (Martin Cordner)This piece was written for the 120th Anniversary of Balham corps (London Central Division) in 2011. In terms of a theme, the anniversary occasion prompted the primary thought that the piece should first be a praise-offering to God, acknowledging him for who he is. Therefore songs referenced in the piece are praide songs: 'Lord, reign in me', 'He is Lord', 'All hail the Lamb', along with a song of testimony, 'I'm a soldier bound for Glory' (T.B. 382),which speaks of the Christian hope in Heaven and challenges Salvationists to influence others by living out that hope. There is also a brief reference to the National Anthem of the Democratic Republic of Congo (4 bars before D)- man acknowledgement to the faithfulness of corps soldiers who in recent years have arrived from that country.
Estimated dispatch 7-14 working days
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£59.95Judd: Caelum Corona - Stephen Bulla
Stephen Bulla's 'Caelum Corona' ('Crown of Heaven') portrays, in sound, a Christian's walk in faith, intended metaphorically via a musical narrative reminiscent of the early church pilgrims, their struggles and triumphs. The composer initially evokes the atmosphere of Rome at the time of St. Paul and other martyrs, thus the Latin title. Bulla marks his imaginative tone poem with dark, brooding music in the first two of three parts, in each of which he has embedded an appropriate hymn or song reference as thematic material. The first of these sounds in a minor key following a symphonic exposition made up primarily of fanfare-like motives, the music at times quite harsh and abrasive. The song is Paul's statement of exuberant faith (2 Timothy 1:12) in the midst of prison and persecution: 'For I know whom I have believed, and am persuaded that he is able to keep that which I've committed unto him against that day.' More challenging, aggressive music returns until a further point of reflection on Christ's sacrifice is reached. The music graphically evokes the barren landscape of Golgatha, the horror of the crucifixion, including stark wind sounds, a loss of stability via eerie, dissonant chord clusters, and even the nails being driven into Christ's body. The Baritones and then Flugel Horn softly play 'He died of a broken heart.' Yet the Christian life, despite its perils - both at the time of Paul and now - is a victorious life, and the composer resolves the tensions of the work in a scintillating finale, a brilliant setting of the old song about spiritual warfare and the ultimate triumph of Christ the King: 'Victory for me!' (T.B. 841). The chorus of that tune proclaims: 'No retreating, hell defeating, shoulder to shoulder we stand; God look down, with glory crown our conq'ring band.' That crowning is the same one sought and claimed by St. Paul (2 Timothy 4:8): 'Now there is in store for me a crown of righteousness, which the Lord, the righteous judge, will award me on that day, but also to all who have longed for his appearing.' Believers look forward to participating in the final coronation of their Saviour - King of Kings and Lord of Lords - while humbly desiring their own 'crown of heaven.'
Estimated dispatch 7-14 working days
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£44.95Judd: Trailblazers
This overture draws its inspiration from the story of the first Household Troops Band. It tells the story of the 1887 band, the subsequent lull of nearly a hundred years and the re-awakening of the Troops phenomenon in 1985. It was originally written in 1995 and featured prominently by the band on its North American tour of 2002. Given the history of the Household Troops Band, it is fitting that this composition is preoccupied with marching. It begins with a marching song played by a solitary muted cornet, symbolic not only of the call to bandsmen to join the evangelical effort but also a muso-dramatic device to indicate the steady increase in members and technical ability! The music quickly develops into stirring versions of 'A robe of white' and 'Storm the forts of darkness' with two early day Salvation Army tunes crucially adding to the narrative; 'Marching on in the light of God' and 'Soldiers of our God, arise!' The second section is a reflective setting of the Herbert Booth song, 'The penitent's plea'. This song serves to represent the many people who were 'saved' during those early day campaigns. The expressive music transports the listener through a period of uncertainty and angst until finally reaching the song, 'There is a message, a simple message, and it's a message for us all'. The final section deals first with the emergence from the annals of history with the muted cornet figure again before, symbolically, the present day band bursts forth with an emphatic statement of 'Would you be free from your burden of sin? There's power in the blood'. The stirring climax represents a fitting tribute to those gallant pioneering musicians and their equally impressive and dedicated contemporaries.
Estimated dispatch 7-14 working days
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£29.95Island Whirl
Island Whirl was commissioned by Margaret Milligan who wanted a brand new piece of music composed as a present for Ian, her husband for his 70th birthday. Ian Milligan is a keen and dedicated musician and he is the musical director of Callendar Brass, based in Callendar near Stirling in Scotland.Margaret contacted me about the possibility of composing a short lively piece which had a Scottish theme that would be ideal for Callendar Brass Band and any other ensemble to get their teeth into. This piece takes its inspiration from the traditional Scottish folk song 'An Eriskay Love Lilt' which is a particular favourite of both Margaret and Ian.With thunderous Celtic drums the piece opens in a whirlwind of sound with fanfare brass and an off-stage soloist that can perform using either the cornet or trumpet. After the exciting opening, the brass and drums die away to allow the off-stage soloist to air the traditional tune 'An Eriskay Love Lilt'.The beautiful haunting melody, keeping its originality throughout undergoes a series of changes in the accompanying harmonic material before dying away to allow the Celtic drums to return. The percussion whip the band into a frenzy as the piece gets faster and faster. Just prior to the final notes the band diminuendo to allow one last closing statement from the Eriskay Love Lilt lead by the off-stage soloist before the ensemble charge to a dramatic close.When performing this piece I would recommend the off-stage soloist taking a position somewhere in the audience, so they can almost feel part of the performance. In addition, with the two tom-tom parts that represent the Celtic drums, bands should make the most of showcasing them by getting the two drummers out to the front of the band to perform. The ideal stage position would be with the players set up in stereo with one player in front of the soprano cornet and the other in front of the solo trombone.With the various choreographed movements from both the off-stage soloist and the percussionists. This piece is a great addition to any concert repertoire and is an ideal showcase for bands who want to try something a little different.I wish Ian at 70 years young, all the very best with his music making in the many years to come and I hope this piece, composed especially for him and Callender Brass brings them many years of musical enjoyment.Paul Lovatt-Cooper
Estimated dispatch 7-14 working days
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£94.00Montage (Brass Band - Score and Parts)
Each of the movements of the symphony take as their starting point forms originating in music of the 16th and 17th centuries.The first, an intrada, introduces the main thematic material (based on the interval of a minor third) in its embryonic state. As the piece progresses, this material is developed and manipulated in a variety of ways. The interval of the third remains central to the overall scheme of the work, even unifying the three movements on a tonal plane (I: F (minor); II: A flat (major); III: C flat (minor). The internal structure of the intrada is an arch form: ABCBA, roughly modelled on the first movement of Concerto for Orchestra by Witold Lutoslawski, to whose memory the movement is dedicated.A chaconne follows - the basic material now transformed into expansive solo lines underpinned by a recurring sequence of five chords (again, a third apart). The movement's structure combines both ternary form and golden section principles and the chaconne's continuous cycle of chords may be visualised as circles.The final movement, a rondo, bears the dramatic weight of the entire work, as the underlying tonal tensions surface. A musical journey ensues, making diversions through lyrical territories as well as through more spiky, jazz-flavoured ones. The aural (and visual) montage is perhaps most apparent towards the climax of the piece, where three keys and polyrhythms sound simultaneously in the upper brass, xylophone, horns, and timpani. The climax itself combines the lyrical music heard earlier with the rondo theme, now presented by cornets and trombones in canon.The teleological thrust of the movement (if not the entire work) can be symbolized by the flight of an arrow, as it steers a predetermined course towards its target.
Estimated dispatch 7-14 working days
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£31.50Edward Gregson: Postcard to Grimethorpe
DescriptionComposer's NoteI composed the original version of Postcard to Grimethorpe in 1993 at the request of Elgar Howarth, for a concert at the Queen Elizabeth Hall, London, given by the Grimethorpe Colliery Band. This was at a time when after the Grimethorpe Colliery pit closed the future of the band was in severe jeopardy. The concert was given in aid of the band, both through publicity and funding.Then in late 2022 Jack Stamp, the American composer, conductor and educator, and at that time international composer-in-association with Grimethorpe, contacted me to say that he had discovered my short piece in the band library, and asked if I might extend it for a recording he was sponsoring for the band - the repertoire to consist entirely of music specially composed for Grimethorpe.I agreed and decided to extend the piece by using the miner's hymn Gresford, as a symbolic gesture of protest at the many thousands of miners in the UK who were made redundant from their jobs. After an angular (atonal) first section, the hymn enters, softly at first, but with each phrase it becomes more powerful and insistent, ending with the final phrase triumphantly accompanied by melodic percussion (replacing the drums and cymbals of the earlier phrases, as if the band were then on the march). However, this short work ends softly and gently, as if anger has been replaced by quiet resolution and determination, looking to the future with confidence.For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£22.50Edward Gregson: Concertante for Piano and Brass Band
DescriptionProgramme NoteThe Concertante for Piano and Brass Band was written in 1966, when the composer was an undergraduate student at the Royal Academy of Music in London. It received its first public concert performance in 1967 at the Royal Festival Hall, London, when the composer was the soloist with the International Band of the Salvation Army, conducted by Bernard Adams. It was one of the first major works to be written for this particular combination.The Concertante is unashamedly romantic in idiom and is in three movements: Prelude, Nocturne and Rondo. The Prelude is cast in sonata form and opens with a short cadenza-like flourish from the soloist, followed by two main ideas - the first sweepingly dramatic, the second highly lyrical. The interplay between these two themes forms the main focus of the movement, and after a return to the opening theme, an exuberant codetta brings the music to a close, albeit a quiet one.https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-1st-movt-clip.mp3The tender Nocturne opens with an introduction from the band that contains precursors of the two main ideas to follow. The solo piano announces the main theme, which has a slightly 'bluesy' character with its flattened third and seventh notes of the scale, and is a love song dedicated to the composer's wife-to-be. The band enters with phrases of a chorale already hinted at in the introduction - Ray Steadman-Allen's hymn tune 'Esher' - but never quite presented in its complete state. Both ideas are developed alongside each other, with eventually the first theme returning, this time with piano and band together, and building to a majestic climax, before subsiding to a peaceful coda - a return to the very opening of the movement.https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-2-clip.mp3The final Rondo is full of energetic rhythms and changing time patterns. The main theme is playful in character, with much interplay between soloist and band, whilst the middle section presents a new theme, and one that has more than a hint of the hymn tune 'Onward Christian Soldiers', in what amounts to a good humoured parody. The opening Rondo theme returns, this time leading to a powerful and dissonant climax from the band. This is followed by an extended piano cadenza, underlying the virtuoso aspect of the work, and leading to an energetic and life-affirming coda, which brings the work to a triumphant conclusion.https://morthanveld.com/wp-content/uploads/2017/09/Gregson-Concertante-movt-3-clip.mp3Duration: 18 minutesInstrumentation:Please note that there is no 1st/Repiano Cornet part in this work. The 1st/Repiano Cornet player should join the Solo Cornet bench. As such an extra Solo Cornet part is provided in the set of parts.Version for two pianosA version of the Concertante for two pianos is available for rehearsal purposes. Piano 1 is the solo part and Piano 2 the band reduction. However, for those pianists not needing to rehearse the work in this way, a solo piano part is also provided with the main set of band parts.To view a preview of the solo part for the first movement click here.The youthful Gregson (his work was written as a third year undergraduate) was seemingly a bit of a musical magpie - but one heck of a skilful one at that.These were shiny baubles of poise, panache and pastiche, with affectionate, remarkably mature nods of appreciation towards Gershwin, Rachmaninov, Ireland and even Elmer as well as Leonard Bernstein.The rich colour palette and flowing lines (with the tenderest of central Nocturnes) were a joy - as were the little buds of motifs that dotted the score like seeds ready to be planted on a future fertile brass band compositional field. - Iwan Fox, 4Barsrest.com, June 2019For more information on Edward Gregson's music please visit the composer's website: www.edwardgregson.com
Estimated dispatch 7-14 working days
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£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
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