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£69.95
STARMAKER (Brass Band Set) - Ray Steadman-Allen
Described by the composer as one of his more ambitious works for brass band, this work is in three movements. Although each movement is capable of standing alone, the composer's own concept is totality with the three movements forming a composite whole. Starmaker presents in music the concept of God's creation of the universe. The frantic and sometimes harsh music of the first movement portrays the chaos from which the immortal and invisible wisdom of God created the order and structure of the heavens, with the stars and planets in their ordered places. An exquisite second movement, based on the benediction 'Now the day is over', brings a calm and ordered peace to the universe, also reminding listeners of the night sky, when God's amazing work is best viewed in all its awesome wonder. The final movement is celebratory in nature, with fragments of melodies like 'Praise to the Lord, the Almighty, the King of creation' appearing in various guises.
Estimated dispatch 7-14 working days
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£60.00Montage (Score only) - Peter Graham
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. Duration: 16:00
Estimated dispatch 7-9 working days
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£72.00Montage (Parts only) - Peter Graham
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. Duration: 16:00
Estimated dispatch 7-9 working days
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£70.00General Series Band Journal April 2016 Numbers 2154-2157
No. 2154 Cornet Solo - The victory cry! (Andrew Blyth)This solo features the popular song by Stuart Townend and Keith Getty entitled 'Power of the Cross', along with an original song by the composer, 'The Cross of hope'. It was originally written at the request of Staff Bandsman Gerry Todd and the Melbourne Staff Band.No.2155 Mission Force (Stephen Bulla)This is programmatic music, portraying the determination and forward vision of the modern church's mission. It includes two well-known hymns, 'Trentham' (T.B.159) and 'Slane' (T.B.831), using their words as metaphors that describe this quest into a spiritual future.No.2156 Prelude on 'Lavenham' (Geoffrey Nobes)An arrangement of a hymn, written by the composer with words by Reverend Nick Fawcett. The three statements of the melody correspond to three verses of the hymn and seek to reflect their meaning.No. 2157 On we march (Kevin Larsson)This piece was written for the Pasadena Tabernacle Band for their 120th anniversary. It includes a number of tunes closely connected with the Corps including 'Everything's coming up roses' from Gypsy, a song closely associated with the Rose Parade, and 'Hooray for Hollywood' as the Corps was previously called Hollywood Tabernacle. Continuing on the Rose Parade theme, 'On we march' (T.B.788) and the well-known hymn tune, 'Rachie' (T.B.190), are also featured.
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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£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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£30.00Reminiscing Dance - Brass Band - LM983
COMPOSER: Chris AllenReminiscing Dance is the most traditional of all the brass band works I have written so far, but it contains beautiful melodies that should appeal to most audiences. The piece is similar in nature to 'The Three Bells',the central movement of Gordon Langford's Three Haworth Impressions, and is inspired by rural imagery and the idea of a widow recalling their precious experiences with their loved one. The general mood of the piece is one of happiness tinged with wistfulness and longing, beginning with a lilting,but not jolly triple time melody in the soprano cornet.This melody gives way to a more jovial tune at bar 56 which can afford to be played with more humour and freedom, but at bar 86 the atmosphere should darken again, with a subdued dynamic and smoother articulation.At bar 114, the upbeat music of the opening returns but bolder than before, to represent a feeling of anger that the opportunity to spend cherished time with a loved one has been stripped away by death. An intense countermelody in the euphoniums and baritones grinds painfully against the main tune in the cornets, before a soft close that suggests ultimately the dominant emotion of the piece is one of happy memories rather than loss.Chris Allen, December 2021
In Stock: Estimated dispatch 3-5 working days
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£72.00
Ave Maria - Vocal or Instrumental Solo - Bach-Gounod - Bjorn Mellemberg
This great piece is a result of two outstanding composers creative ability. The French composer Charles Gounod (1818-1893) used the Prelude No. 1 from "Das Wohltemperierte Klavier" by Johann Sebasian Bach (1685-1750) and added a beautiful melody to the original piece. The composition has the occurred in several versions both with and without lyrics and for many kinds of instrumentations.To the Conductor:It's important to take well care of the long phrases of the melody and it's warm and soft character.Make shure that the band balance the three elements of melody, harmony and the rhythmic (played by the clarinets) well. All these three is of equial importance and depend of each other.
Estimated dispatch 7-14 working days
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£61.00Postcards from Tomorrow - Gauthier Dupertuis
During their childhood, some people have the tradition to put their toys, drawings and wishes for the future into a timebox that they bury somewhere to dig up when they are adults. This has inspired Gauthier Dupertuis for the title of this work: Postcards from tomorrow. What wishes would we put in those boxes for the future; what kind of postcards would we send to our grandchildren? To compose this work, Gauthier Dupertuis was also inspired by three pictures that have some symbolic meaning linked to the question above and that give the names to the three movements that make up this piece.The first movement, Abandoned Blockhouses, refers to war and other horrors in the history of humanity, while Pagoda at the Lake, the second movement, was inspired by the pagoda, a religious building whose function is to house the relics of holy people in Asian worship. The third and last movement, Building Bridges, is a call for hope. In July 221, Postcards from Tomorrow was awarded the first prize at the "La Bacchetta d'Oro" international composition contest in Italy.
Estimated dispatch 5-14 working days
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£154.60Variations for Brass Band - John Brakstad
"Variations for Brass Band" consists of a chorale and 5 variations of brilliant, lyric and humorous character. The piece also contains several soloparts and elements of ensemble.Each variation has its own title, but the piece should be played in its entirity.The chorale is based on a minor pentachord, and each variation begins with these five notes, with different rhythmical treatment.There is also a little secondary "theme", consisting of five notes which are heard throughout the work (eg. as sixteens/semiquavers in cornets in bar 1).When the beams sweep across the Earth, they can be heard as regular pulses. We call them pulsars.In this piece there are three percussion parts. In addition there is an "optional part" to replace the marimba and vibraphone written in the three original percussion parts if desired. This fourth part is shown in the full score.
Estimated dispatch 5-14 working days
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