When I was approached to compose a work for brassband and church organ I already envisioned the concept I would use. It would indeed literally become a work for brassband and organ. Without the traditional solos the organ would form an addition to the brassband orchestration as would the brassband provide an extra register for the organ. In short a homogeneous entity. The most important reason for doing this is quite simple. Since this work can only be performed in a church and because of the specific acoustics of the church the brassband would sound in al its tone colour like an organ. By using certain registers of the organ and combining these with the brassband a wonderfulsound palette can be created. The use of complementary or contrasting tone quality is also possible. The primary theme of this composition is based on these three methods of ?colouring?. As far as structure is concerned this work consists of two parts. slow ? fast. It is built on a number of motifs in which some behave like a consecutive canon. In the fast movement the primary motif develops into a fugue-like section. The canon and fugato are techniques frequently used in classical and contemporary organ literature. The liberal use of structure and motif has lead to the title. ?Fantasy for Brassband and Organ?.

When I was approached to compose a work for brassband and church organ I already envisioned the concept I would use. It would indeed literally become a work for brassband and organ. Without the traditional solos the organ would form an addition to the brassband orchestration as would the brassband provide an extra register for the organ. In short a homogeneous entity. The most important reason for doing this is quite simple. Since this work can only be performed in a church and because of the specific acoustics of the church the brassband would sound in al its tone colour like an organ. By using certain registers of the organ and combining these with the brassband a wonderfulsound palette can be created. The use of complementary or contrasting tone quality is also possible. The primary theme of this composition is based on these three methods of ?colouring?. As far as structure is concerned this work consists of two parts. slow ? fast. It is built on a number of motifs in which some behave like a consecutive canon. In the fast movement the primary motif develops into a fugue-like section. The canon and fugato are techniques frequently used in classical and contemporary organ literature. The liberal use of structure and motif has lead to the title. ?Fantasy for Brassband and Organ?.

Chris Morgan's Boosey B flat Brass Band Instruments Method is a major new resource for individual or group Woodwind and Brass teaching.The Boosey Woodwind and Brass Method provides everything you need for teaching music through the instrument. Its unique approach develops general musical skills through a programme of quality solo and ensemble music activities and audio CD.This wonderful method is based on a clear curriculum it provides an easy to use system for teaching plus all the flexible resources you need for every situation whether individual group or mixed instrument teaching.

Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review

Score and Parts-Samuel Scheidt's Canzone Bergamasca for Brass Quintet. Score and parts.Samuel Scheidt (1587-1654) was one of the influential trio of S's (with Heinrich Schutz and Johann Hermann Schein)who played an important part in both the development of German music of the early Baroque and in the survival of a high level of musical life during the devastation of the Thirty Years War.The son of a musical family of Halle in central Germany Scheidt spent most of his life in the city which saw both his birth and his death. From 1605 to 1608 however he went ot Amsterdam to study with the famous Ducth composer and organist Jan PietersSweelinck.Renowned in his day for his Vocal works - especially for his 'Concerti Sacri' - Scheidt achieved lasting fame for his revolutionary contributions to Organ literature. He introduced elements of tonal harmonyin his music and his masterwork 'Tabulatura Nova' marked the end of the German tablature system of notation for Organ.The Canzone Bergamasca marked by lively rhythms and contrapuntal inventiveness comesfrom an early collection of canzonas and dances published in Hamburg in 1621. The work is a 'chain' canzona (similar in form to the canzonas of Gabrieli) in which the material for one section develops out of the material of theprevious section uniquely linking all of the sections together. For additional contrast there is a tripla section in the middle and the work ends with a recapitulation of the first theme.The 'Bergamasca' of the title atthis period refers to the use of melodic material based on a harmonic ground derived from an Italian folk dance of the Bergamo region.

Worship Hymns for Organ and Brass-“Worship Hymns for Organ and Brass” is a new series with remarkable versatility. The arrangements are for Organ with Solo Trumpet or Brass Ensemble and Percussion. All parts are upper intermediate level with optionalhigh notes for Trumpets and Horn. While the parts are not demanding they have a level of artistry that is compelling to all of the performers involved. Instrumental options with Organ include: Solo Trumpet; Brass Trio (2 Trumpetsand 1st Trombone); Brass Quartet (2 Trumpets and 2 Trombones OR 1st Trombone and Tuba); Brass Quintet (2 Trumpets Horn Trombone Tuba or 2 Trumpets 2 Trombones Tuba); and Brass Sextet. Versatile and regal perfect for the mosttriumphant season of the year.

Christmas Cantata (Sinfonia Sacra) the most famous piece of Daniel Pinkham composed in 1957 is a church composition for Chorus Double Brass and Organ. Written in Latin. Accessible to good high-school and college singers the opening statement is sung by the whole SATB chorus followed by the Allegro section which is rhythmically quite complicated. The middle section is sung by Sopranos and Altos while the Rondo which is part of the final part is sung by the whole SATB its verses being interpreted by the different groups.Daniel Pinkham (1923-2006) is an American composer organist and Harpsichordist. Most ofhis compositions were related to church music and his best known works are the Christmas Advent and Wedding Cantatas.

Felix-Alexandre Guilmant-Amédée (Boulogne-sur-Mer March 12 1837 - Meudon March 29 1911) was a French composer and organist. Like many other composers he was very talented on a young age he was 12 years when he was playing organ smoothly. He studied with Lemmens with Charles-Marie Widor and Gigout. Between 1871 and 1901 he the leading man in the Paris organ scenery along with his fellow students later on he teached at the Paris Conservatoire National Superieur de Musique inter alia Joseph Bonnet and Marcel Dupre. Known are his organ sonatas which are equivalent to the famous organ symphonies of Widor. His work was very popular. Also knownunder the title Morceau Symphonique Opus 88.

South Down Pictures was commissioned by Millenium Brass 2000 an organisation comprising three brass bands from the county of Sussex England.The bands (Patcham Silver Hangleton and Brighton Silver) had got together to organise many events to mark the new millennium and these culminated in a concert in Hove Town Hall on July 9th 2000 when all three bands combined to give the first performance of South Down Pictures. The composer spent much of his childhood amongst the South Downs a range of hills in Sussex which runs parallel to the sea.Opening with a strong unison passage interrupted briefly by faster figures based on the interval of a fifth South Down Picturesdevelops with an often-passionate legato melody. Reaching a climax this is then followed by the main vivo section of the work whose main theme is based on the earlier ‘fifth’ figures. A bridge passage leads to a short chorale figure and a rhythmic climax which dissolves into a plaintive cornet solo over staccato chords. This theme is taken up by the whole band and leads back to a recapitulation of the main theme and earlier material. The cornet tune returns triumphantly in the major key before the opening unison passage reappears to provide a stirring coda.

Ensemble-Brass 8 or more-Title:Hymne Au Sacré-Coeur For 7 Trumpets and Organ Duration: 5' Place: Paris Year: 1992 Publisher: Leduc Dedicated to: à Alain Hazemann Premiere (Performer(s): Evelyne Aïello cond. Naji Hakim Place: Organ And Trumpets Of The Conservatoire De Boulogne-Billancourt Date: 02/05/92

Shackleton's Cross was inspired by a painting created in 1957 by the English artist Edward Seago (1910 1974). The title refers to a cross which was erected to the memory of Sir Ernest Shackleton who led a number of explorations to the Antarctic. Shackleton died in 1922 whilst on a Polar expedition and the cross can be found on a promontory at the entrance to the bay at Grytviken Whaling Station in South Georgia. The painting is owned by HRH The Duke of Edinburgh and was part of an exhibition at Buckingham Palace from October 2011 to April 2012. Originally scored for oboe trumpet and small orchestra Daniel Hall's sensitive arrangement fortrumpet or cornet and brass band follows the composer s alternative version for solo trumpet and organ created for Crispian Steele-Perkins (trumpet) and David Goode (organ).