Results
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£53.95The Hoofbeat - Mekel Rogers
Composed in the style of a traditional circus march, this exciting work lets younger bands really open up the throttle and have some fun! Wind parts have very comfortable ranges and careful scoring makes even a small band sound big. Really clever and engaging music for younger players!
Estimated dispatch 3-5 working days
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£62.95Gazebo Fanfare - Chris Donze
Here is a useful fanfare for the opening of your next concert. Optional fermatas allow for announcements to be added as 'voice-overs.' Placed in the most central social spot in small towns all over the country, the gazebo 'on the square' is where we go to see our friends and neighbors on a warm Friday night to share some good old American band music.
Estimated dispatch 3-5 working days
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£66.95In tantum lux - Todd Stalter
In tantum lux (The only light) was written as a memorial and celebration honoring the life of a music educator and her faith, who taught in a small school her entire career and persevered through the challenges and unique demands that teaching small school bands present. The piece also serves as a celebration of every band student and teacher in small schools everywhere who may not have the resources to have a full ensemble, yet strive every day to experience the joy of making music to the fullest just the same. (4:00)
Estimated dispatch 7-14 working days
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£104.99Bliss - Jacob de Haan
Bliss: Impressions of a Village contains three impressions of a village in the beautiful Brabant province in the Netherlands. The fi rst movement is in a very 'classical style' and, appropriately, captures the village's history. Saxophones and a glockenspiel follow the path of a small, playful river. The entire band join in as the small river approaches an ancient castle. The third movement contains lots of interesting rhythms portraying the hustle and bustle of everyday life in the village.
Estimated dispatch 7-14 working days
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£78.20Cloud(iu)s ... der Wolkenmann - Thiemo Kraas
4 Miniatures for Winds: 1. Wind 2. Storm 3. Rain 4. Sun and Snow There was a little child who enthusiastically told a story ... and a composer who was equally inspired by the child and its story to write these miniatures. At the premier performance of my composition "Arcus" in March 2011, when I explained how a piece about the rainbow came into being, a little girl came up to me and asked: "Thiemo, what about the man in the clouds?" I obviously had forgotten to include him, though he is as the little girl informed me of extreme importance in the sky: "He sits in the clouds and is responsible for the weather. He shakes rain, wind, storm or snow out of the clouds, he pushes them aside to let the sunshine through or he models them into funny figures, making people on earth smile." Fascinated by the girl's ingenuous ideas I created this small composition, sitting in my study and letting my mind wander into the sky. As the man in the clouds naturally has to have a name, I decided to call him "Cloud(iu)s ... man in the clouds". I dedicate this piece to the children of my beginner's band, who show me again and again how wonderful and precious it is to delight in the small things in life ...
Estimated dispatch 7-14 working days
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£99.99Hidden Light - Kevin Houben
Hidden Light - Loyalty Among Friends, was composed on the occasion of the 75 year membership of Mr Leo Knoben at the Royal Brass Band 'Eendracht Waubach'. (NL)From pride and admiration for this exceptional jubilee , but also out of gratitude for his many years of commitment as musician and member of the board, the association chose to have a memorable work written.That assignment resulted in the wonderful choral Hidden Light, for which composer Kevin Houben based himself on the following emotions and oppositions: small vs majestic, submissive vs royal and simplicity vs glory.The work starts in a very modest, dark atmosphere, after which the composition develops into a grand and lofty sound with broad melodies, exploring the full richness and colors of the 'symphonic' wind band.The interesting variety in orchestration - the small , intimate setting at the beginning and the following broad, majestic tutti passages - makes the work very varied, grateful to perform and to listen to.With Hidden Light Kevin Houben has again created an expressive and powerful composition that is highly reflective in nature. This emotional work is a tribute to an exceptional man who has been there for 'his' orchestra all his life, with a warm heart for 'his' musicians. Each musician will recognize the connection and the passion for music in this piece.
Estimated dispatch 7-14 working days
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£309.99Vulcan - Michael Daugherty
(2014) Vulcan for Concert Band is Grammy award winning composer Michael Daugherty's first work for the high school and intermediate level college band. The work is a colorful homage to Gene Roddenberry's interstellar universe as depicted in the classic American television series Star Trek (1966-69). The title refers to the fiery planet Vulcan, home world of half-human, half-Vulcan Mr. Spock. As the rational-minded science officer aboard the starship Enterprise (commanded by the hot-blooded Captain James T. Kirk), Mr. Spock grapples with the fascinating predicament of making decisions predicated on human emotion versus Vulcan logic. Daugherty has composed stirring, yet highly structured music that alludes to the Vulcan Pon Farr ritual, Vulcan telepathic mind-melds, and the volcanic planet itself. At the the Ann Arbor, Michigan world premiere (utilizing the combined forces of the Pioneer, Huron and Skyline High School bands), Vulcan was an immediate hit and will surely become one of Daugherty's most performed works. Instrumentation The number of players doubling each part is at the conductor's discretion, but should be in keeping with a balanced sound. Piccolo 2 Flutes 2 Oboes English Horn (optional but recommended) 3 Bb Clarinets (minimum 2 players per part) 2 Bb Bass Clarinets Eb Contralto Clarinet or Bb Contrabass Clarinet and Bb Bass Saxophone (optional but recommended) 2 Bassoons 2 Eb Alto Saxophones Bb Tenor Saxophone Eb Baritone Saxophone 3 Bb Trumpets (straight metal mutes, harmon mutes-stem out) 2 F Horns 2 Trombones (straight metal mutes) Euphonium 2 Tubas Contrabass or Electric Bass (optional but recommended) Timpani (4 drums recommended) Percussion (instruments are not shared): 1. Glockenspiel, Xylophone 2. Vibraphone, Small Anvil (metal beater) 3. Shakaray, Marimba, Chimes, Suspended Cymbal (yarn mallets) 4. Two Tam-Tams (small, medium), Tambourine, Mark Tree, Finger Cymbals, Vibraslap, Piccolo Snare Drum 5. Tenor Drum, Maracas, Snare Drum 6. Large Bass Drum Movement I (YouTube) Movement II (YouTube) Movement III (YouTube)
Estimated dispatch 7-14 working days
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£193.20CASTRVM - Lionel Beltrán-Cecilia
CASTRVM is a symphonic episode inspired by four of the main civilizations that have coexisted over time in Ulldecona's Castle. With its melodies and sound effects, the composer tries to transport the listener through a trip to four uninterrupted movements, from the beginnings of this small settlement, creating a natural atmosphere recreated by the voice and the singing of birds to take us into the history with the first inhabitants, the Iberians, giving strength to the introduction of the composition, to move on to the time of the Andalusians, which with a melody in the form of a dance marked by percussion will transport us to take a walk in the surroundings of its circular tower. Next, and with strength, we arrive at the medieval and Christian period, marked in the score by the brass instruments, in this fragment we find moments that take us into the church of "Santa Mara de los ngeles", with melodies that evoke resonance and pomposity, continuing until we find the immense square tower, symbol of the fortress and homage, finally used as a prison and arsenal of those times. Then, there is a small slow march that will move us to some measures of strong stridency to finish with the whole section of low brass having its great moment of prominence, down to we reach the last part, Qna, a name that is recited during the musical piece and one of the names given in the past to the area that could be seen from the castle, where the change of location of the new town is recreated leaving the castle site, but always looking at it with respect and admiration as at the beginning of what is now the current Ulldecona, in this part, the composer plays a bit with a very well-known and significant melody for the inhabitants of Ulldecona, the "Jota Vieja", first making a reflex effect of all its melody and then only with the first six notes of this one, which builds a bridge until reaching the march and, later, the grand finale of this symphonic episode. The work was commissioned by Ulldecona Town Council and the Ulldecona Music Band, led by its conductor Joan Nadal i Girona, to commemorate the 800th anniversary of the donation of the Town Charter of Ulldecona "the old" (1222-2022), as part of the PATRIMONIUM 20.22 programme, "La Banda (Sonora) del Castell" (The soundtrack of the Castle).CASTRVM consists of: I.Iberians: stone and ironII.AndalusiansIII.The square tower: fortress and homageIV.Qna
Estimated dispatch 7-14 working days
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£184.99
Rubicon - Bert Appermont
The Rubicon is a river in Northern Italy which Julius Caesar crossed with his army in 49 BC in defiance of the leaders of Rome, who feared his power. A civil war against rival Pompey ensued, which culminated in Caesar seizing power as the absoluteruler of Rome. The phrase "crossing the Rubicon" therefore refers to any person committing himself irrevocably to a risky, decisive and irrevocable of course of action.The work consists of three parts that deal with this important moment in history.Part 1 (Meditation) symbolises Caesars request to the Gods to assist him in his difficult choice. In a slow introduction we hear the melancholy and beseeching sounds of the duduk (alternatively, this part can be played by a soprano saxophone)and of the soprano solo singer over the bourdon accompaniment. The soprano solo singer then sings "dona tibi pacem" (give him rest) in a melodious and probing theme.In Part 2 (Battle of Pharsalus) trumpets and trombones resound alternately ina stately Roman fanfare, producing a stereophonic effect. This develops into a martial theme in which Caesars impressive army goes to battle against the army of rival Pompey. While the theme of Caesars army fades away, Pompeys theme emerges as anaive dance in six-eight time. His army is definitely in the majority and it believes it can easily defeat the enemy. Suddenly trumpets and trombones clash on two sides of the orchestra: Caesars army advances and attacks. A fierce battle ensues inwhich the two themes are played alternately as well as simultaneously. Thanks to his shrewd battle tactics, Caesar manages to win this legendary battle after all: his theme resounds ever louder in trumpets and horns until everything dies out andchanges into a kind of reconciliation between the soldiers of the two armies. The melancholy "dona tibi pacem" from part 1 now serves as a reconciliation theme.Caesar is now the sole ruler of the New Roman Empire, which would be destined to leave itsmark on our Western civilisation to this day. The third part is a sparkling succession of dance music (Dance) with many Greek and Roman elements in which Caesars victory is praised and celebrated. It is common knowledge that the culture(arts, gods, etc.) of the Romans drew heavily on Greek culture. I have therefore used an authentic Greek theme (the Seikolos song) several times in this part (bar 17 in the euphonium, bar 60 in the base section, bar 68 in the sopranosaxophone) to suggest the music of that era and to evoke the right atmosphere. After a gradual increase in tempo in the entire orchestra, the opening melody gloriously resounds once more, surrounded by virtuoso dance music. The work ends withbombastic brass fanfares in which Caesars theme triumphs once more.NOTE FOR THE CONDUCTOR:The Armenian duduk and the monochord that are used in the introduction give a special tone to the music, but could be substituted (soprano saxophone instead ofthe duduk) or left out (monochord). The soprano solo is also doubled within the orchestra and could therefore also be left out if necessary, although it does provide the work with an extra dimension. The male voices in the introduction and the finalecould possibly be replaced with a synthesizer with choral setting.As a visual and acoustic element in part 2, the trumpets, the e-flat cornet, the small drum and trombones can be stood up and placed at two sides of the orchestra (bar 80).Seen fromthe point of view of the conductor, put the trumpets, the e-flat cornet and the small drum in the left section and the trombones in the right section of the orchestra. This also helps to create a visual contrast between the two themes of the secondpart. The players can be seated again at bar 97 or bar 121. The soprano soloist can be placed in or in front of the orchestra, depending on what gives the best result. For the conclusion of the work the soprano solo can be sung from afar (from thewings) to create additional atmosphere.This work was composed especially for the "St Joseph" brass band from Pey/Echt (Belgium) with conductor Mark Prils.
Estimated dispatch 7-14 working days
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£248.99Missa Brevis - Jacob de Haan
Missa Brevis, written for choir and wind band, was commissioned by the Conseil Dpartemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX'sbirth in guisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:1. clarinet choir (from Eb Clarinet to BassClarinet)2. clarinet choir + saxophones3. brass (flugelhorns, horns, euphoniums, bass section)4. brass (2 trumpets / 2 trombones)5. double reeds (optional + flute, optional + string bass)6. tutti7. all winds8. allbrassIn a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.Choral parts available separately.
Estimated dispatch 7-14 working days
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