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£39.58Simply Carols - 45 Favourite Christmas Carols - Brass Band Set
VIEW SCORE PDF This resource features 45 Favourite Christmas Carols aimed at Intermediate Ensemble and above. All arranged by Kevin Larsson, who has over 20 years' experience working with youth ensembles, they are designed to be flexible and playable by a wide range of different groups, including brass, winds and strings. The arrangements use limited ranges, keys and rhythms and fingerings and slide positions are included for accidentals on the brass parts. PDF parts come in both march card an A4 size. Scored for quartet, the arrangements will work just as well with larger groups. Promotional videos for this product can be viewed at: www.youtube.com/watch?v=dTwB-Zy-c08 (short version) www.youtube.com/watch?v=g4IsIM8x7NU (extended version) The sheet music for this is available from Solid Brass Music Company at www.solidbrassmusic.com where parts, score and piano reduction can be purchased individually. Included in Brass Band Set: Full Score 1st Part Eb1st Part Bb2nd Part Bb2nd Part Eb 3rd Part Eb 3rd Part Baritone Bb3rd Part Trombone Bb4th Part Eb4th Part Bb 4th Part Bass ClefPercussion (optional) Full Set available at www.brookwrightmusic.com/product-page/simply-carols-45-favourite-christmas-carols-for-intermediate-ensemble and includes Piano Reduction Wind Band Set available at www.brookwrightmusic.com/product-page/simply-carols-45-favourite-christmas-carols-wind-band-set Full Score available at www.brookwrightmusic.com/product-page/simply-carols-45-favourite-christmas-carols-full-score
In Stock: Estimated dispatch 1-3 working days
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£68.99
Fanitullen Brass Band (Score & Parts)
Fanitullen is a lively, beautiful 'Sl?tt', i.e. an old Norwegian melody which is played on a traditional 'Hardingfele' (Hardanger fiddle).Because of its violent rhythm and exciting character, playing a Fanitullen for a long time was considered improper. It was believed that a person playing this melody would come under the influence of the devil. Therefore, Fanitullen could be regarded as a kind of Rock'n Roll from the 18th century.Tom Brevik's adaptation is based on a composition for piano by Ole Olsen (1850-1927) Fanitullen is een levendige, mooie 'Sl?tt', een oude Noorse melodie die gespeeld word op een traditionele 'Hardingfele' (Hardanger viool).Door de heftige ritmiek en het opzwepende karakter, werd het spelen van een Fanitullen gedurende lange tijd als niet kies beschouwd. Er zouden invloeden van de duivel in schuilen. Fanitullen zou daarom misschien wel als een soort Rock'n Roll van de 18e eeuw gezien kunnen worden.De bewerking van Tom Brevik is gebaseerd op een compositie voor piano van Ole Olsen (1850-1927) 01:45
Estimated dispatch 7-14 working days
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£68.99Fanitullen - O. Olsen
Fanitullen is a lively, beautiful 'Sl?tt', i.e. an old Norwegian melody which is played on a traditional 'Hardingfele' (Hardanger fiddle).Because of its violent rhythm and exciting character, playing a Fanitullen for a long time was considered improper. It was believed that a person playing this melody would come under the influence of the devil. Therefore, Fanitullen could be regarded as a kind of Rock'n Roll from the 18th century.Tom Brevik's adaptation is based on a composition for piano by Ole Olsen (1850-1927) Fanitullen is een levendige, mooie 'Sl?tt', een oude Noorse melodie die gespeeld word op een traditionele 'Hardingfele' (Hardanger viool).Door de heftigeritmiek en het opzwepende karakter, werd het spelen van een Fanitullen gedurende lange tijd als niet kies beschouwd. Er zouden invloeden van de duivel in schuilen. Fanitullen zou daarom misschien wel als een soort Rock'n Roll van de 18e eeuw gezien kunnen worden.De bewerking van Tom Brevik is gebaseerd op een compositie voor piano van Ole Olsen (1850-1927)
Estimated dispatch 5-14 working days
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£68.99
Meeting Brass Band (Score & Parts)
A lyrical piece, from Edvard Grieg's song-cycle "Haugtussa" ( The Mountain Maid) originally for voice and piano, but here in an arrangement for Soprano Cornet and Brassband by Tom Brevik Een lyrische werk van Edvard Grieg uit de liederencyclus ""Haugtussa"" (The Mountain Maid),oorspronkelijk voor stem en piano, maar hier in een arrangement voor Es Cornet en Brassband van Tom Brevik. 04:00
Estimated dispatch 7-14 working days
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£35.62Sweet Hour of Prayer (Eb Bass Solo with Brass Band) Bradbury arr. Rowsell
A beautiful arrangement by Jonathan Rowsell for solo Eb bass with brass band accompaniment of the popular hymn Sweet hour of prayer, by William B. Bradbury. A version with piano accompaniment is also available here. To view a performance video of the solo (piano accompaniment version) please visit: www.youtube.com/watch?v=7iDpCO5A8vU Length: 3.15 minutes Sheet music available from www.brassband.co.uk Instrumentation: Solo Bass Eb Soprano Cornet Eb Solo Cornet Bb 1st Cornet Bb 2nd 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 Timpani Percussion
In Stock: Estimated dispatch 1-3 working days
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£68.99Meeting - Edvard Grieg
A lyrical piece, from Edvard Grieg's song-cycle "Haugtussa" ( The Mountain Maid) originally for voice and piano, but here in an arrangement for Soprano Cornet and Brassband by Tom Brevik Een lyrische werk van Edvard Grieg uit de liederencyclus ""Haugtussa"" (The Mountain Maid),oorspronkelijk voor stem en piano, maar hier in een arrangement voor Es Cornet en Brassband van Tom Brevik.
Estimated dispatch 5-14 working days
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£89.95Four Etudes (Brass Band - Score and Parts) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£37.95Four Etudes (Brass Band - Score only) - Gregson, Edward
This work was written during August and September 2016. In it, I wanted primarily to explore the elements of timbre, rhythm, texture and colour. The first three tudes (or studies) are based on a set of piano pieces I composed in 1982, whilst the last, the longest of the set, was composed specially. My reference point was the Four tudes for orchestra of 1928 by Stravinsky, a work I have always admired, and of which the first three also happen to be based on a set of earlier pieces, in his case for string quartet, with the last being a re-arrangement of a work for pianola. I have also borrowed the titles he gave to the individual studies as they seemed to fit the mood of my pieces.However, the exception is the final study, where instead of the exuberant mood of his colourful portrayal of Madrid, mine was influenced by the terrible human tragedy that was unfolding in Aleppo at the time I was writing it, and thus reflects the violence and barbarism of those events; yet towards the end it does offer a glimmer of hope for humanity with a return to the Canticle (Song) of the first study, and concludes quietly with the chords and bells that began the work. The titles of the tudes are Canticle, Dance, Excentrique, and Aleppo. Like Stravinsky's, the set is relatively short, lasting around 8 minutes.The Four tudes were commissioned by Black Dyke Band and were written specially for the recording marking the conclusion of my year as Composer-in-Residence. The concert premiere will be given by Black Dyke Band, conducted by the composer, at the RNCM Festival of Brass in January 2017.- Edward GregsonDuration: 8.00
Estimated dispatch 7-14 working days
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£107.95Symphony in Two Movements (Brass Band - Score and Parts) - Gregson, Edward
This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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£57.95Symphony in Two Movements (Brass Band - Score only) - Gregson, Edward
This work was jointly commissioned by the National Youth Brass Band of Great Britain (NYBBGB) and the National Youth Brass Band of Wales (NYBBW), the latter with funding from T Cerdd (Music Centre Wales), to celebrate their 60th and 30th anniversaries respectively. The first performances were given at Cadogan Hall, London, in April 2012, by the NYBBGB, conducted by Bramwell Tovey; and at the Great Hall, Aberystwyth University, in July 2012, by the NYBBW, conducted by Nicholas Childs.When I was approached about a joint commission to write a new work to celebrate the anniversaries of these two outstanding youth bands I was delighted to accept, and decided to respond by writing a work apposite for the magnitude of these special occasions, namely a 'symphony for brass'.Through a long journey of writing music for brass band, which commenced with Connotations (1977), and continued with Dances and Arias (1984), Of Men and Mountains (1991), The Trumpets of the Angels (2000) and Rococo Variations (2008), I arrived at what I regard as the most important work of the cycle to date, combining as it does serious musical intent with considerable technical demands. It is perhaps my most abstract work for brass band, avoiding any programmatic content.The symphony lasts for some 19 minutes and is structured in two linked movements. The form is based on that used by Beethoven in his final piano sonata (Op.111), which is in two movements only: a compact sonata-form allegro, followed by a more expansive theme and four variations. Prokofiev also adopted this model in his 2nd Symphony of 1925.The opening Toccata of this Symphony is highly dramatic but compact, whilst still retaining the 'traditional' structural elements of exposition, development and recapitulation; indeed, it also has the 'traditional' element of a contrasting second subject - a gentle, lyrical modal melody first heard on solo cornets.In contrast, the longer and more substantial second movement Variations is built around a theme and four variations. The slowly unfolding chorale-like theme accumulates both added note harmony and increasing instrumentation, whilst the four variations which follow are by turn mercurial (fast, starting with all the instruments muted), march-like (menacing, with short rhythmic articulations underpinning an extended atonal melody), serene (a series of 'romances' for solo instruments alongside echoes of the chorale) with an emerging theme eventually bursting into a climax of passionate intent; whilst the final variation is a dynamic scherzo (concertante-like in its series of rapid-fire solos, duets, trios and quartets) with the music gradually incorporating elements of the main ideas from the first movement, thus acting as a recapitulation for the whole work. It reaches its peroration with a return to the very opening of the symphony, now in the 'home' tonality of F, and thus creating a truly symphonic dimension to the music.Most of the melodic material of the symphony is derived from the opening eleven-note 'row', which contains various intervallic sets, and although the work is not serially conceived it does use some typical quasi-serial procedures, such as canons, inversions, and retrogrades. The symphony uses somewhat limited percussion, in line with a 'classical' approach to the sound world of the brass band, alongside a use of multi-divisi instrumentation, whereby each player has an individual part rather than the traditional doubling within certain sections of the band.- Edward GregsonDuration: 19.00
Estimated dispatch 7-14 working days
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