SKU: CN.R10177
Much of the thematic material for this lovely work by Holst is derived from the opening legato melodies provided by soli horns. The themes morph into several different dance feels throughout the remainder of the piece always keeping you guessing what will come next. Geoffrey Brand has done a masterful job of adapting the score for the modern concert band.Holst's original version of 'The Morning of the Year' was written in 1926-27 as a choral ballet. It was the first work to be commissioned by the music department of the BBC. The first concert performance was on 17 March 1927 at the Royal Albert Hall, London conducted by the composer. In 1979 Colin Matthews and Imogen Holst edited this concert version with the approval of the publisher and G&I Holst Ltd. The chorus has been left out and several of the dances have been shortened. Some additional percussion was introduced to suggest the sounds the dancers would have provided in a stage performance. Geoffrey Brand arranged the work for concert band in 1995 with permission from G&I Holst Ltd.
SKU: CN.R10299
Holst's masterful military band orchestration of J.S. Bach's Organ Fugue in G Major BWV 577. Michael Brand's new edition expands/doubles some of Holst's original parts to make the piece playable by today's modern concert band.When Holst was commissioned to write 'Hammersmith' for the BBC Wireless Military Band in 1928 he felt rather out of practice in orchestrating for the medium. For some years he had had the idea of arranging some Bach fugues for brass and military band so he set himself the task of scoring the Organ Fugue in G Major BWV 577 (from Preludes, Fugues and Fantasias). He, rather than Bach, called it 'Fugue a la Gigue.' The piece made an ideal exercise and Holst's brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception which the composer carried forward into 'Hammersmith.' 'Fugue a la Gigue' was published for military band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time. This edition has the full score of Holst's original orchestration with optional added parts for full concert band.
SKU: CN.S11177
SKU: CN.R10243
This 3-movement tribute to H.G. Wells perfectly captures the imagination and wonderment found in the author's collection of works. The first movement is a march that could easily be extracted and performed on its own as a nice alternative to Sousa.The Time Traveller: A tribute to H.G. Wells is cast in three movements: March: Anticipation, Mankind in the Making, and A Modern Utopia. Commissioned by the Bromley Youth Concert Band and first performed under the Director: Peter Mawson, on Sunday, March 3, 2002, at the Queen Elizabeth Hall, South Bank Centre, London.
SKU: CN.S11243
SKU: CN.R10301
Start marching to a new destiny. From an original brass band musical by Michael Brand and Ian Chippandale, March: Song of Socialism is a rousing concert march sure to please any audience. This new arrangement by the composer is for full concert band.In the Red is an original brass band musical by Michael Brand and Ian Chippendale. It is based on Robert Tressell's famous socialist novel, The Ragged-Trousered Philanthropists, which describes the trials and tribulations, the humour and the marriages of working-class life in Edwardian England. This powerful book has been allied to a powerful score and the show ends with the show's hero, Will Easton, exorting all the working men - painter and decorators - to embrace socialism and overthrow the bosses. In this Song of Socialism, the men start marching to a new destiny. It never happened in England of course, but it did elsewhere! The composer has now arranged this stirring march for Concert Band.
SKU: CN.S11035
This work portrays the reflections of the composer during his life as an undergraduate. All the elements of student life are featured; walks along the river, the organist lending his fugue a touch of bravura, leading to a reverie with changing meter, even a gentle hint of romance. This tuneful overture is certainly not too serious and allows all the members of the band to enjoy themselves.Bridges Over the River Cam was commissioned by Cambridge Youth Concert Band with the help of Eastern Arts Association. The first performance of this work was given by the Cambridge Youth Concert Band, conducted by the composer, at the Concert Hall of Cambridge University Music School, May 13, 1990.
SKU: CN.S11301
SKU: CN.S11292
Perfect for graduation ceremonies. Known to many as Pomp and Circumstance, Land of Hope and Glory is from the G&M Brand Compact Band Series. Perfect for graduation ceremonies. Known to many as Pomp and Circumstance, Land of Hope and Glory is from the G&M Brand Compact Band Series. Playable by as few as four players provided each of the four parts is covered, each 'choir' within the band - woodwinds, saxophones, Bb clarinets and brass - is complete so you may use contrasting choirs for different sections for variety.
SKU: BT.EMBZ14737
9x12 inches.
The title of the suite Early Hungarian Dances from Gömör suggests the arrangement and harmonization of dance tunes, but this three-movement cycle is far more than that: in fact, the old court dances that provide the thematic material have been freely thought through and brought to completion. The composer has breathed new life into the 18th-century melodies, as Zoltán Kodály did with the Galanta and Marosszék dances, Antonin Dvo ák with Slav dances, and Johannes Brahms with those of Hungary. The chief virtues of the work are its colourful, varied instrumentation, the tasteful combination of its archaic style with the musical language of our day, and not least the fact thatits every bar is enjoyable to play and easy to listen to. Der Titel der Suite Alte ungarische Tänze aus Gömör lässt die Bearbeitung und Harmonisierung von Tanzmelodien erahnen, doch der dreisätzige Zyklus ist viel mehr als das: Es ist die freie Weiterentwicklung und Vollentfaltung alter höfischer Tanzmelodien, die den Themenstoff geben. Der Komponist erweckt die Melodien aus dem 18. Jahrhundert in einer Art und Weise, wie das von Zoltán Kodály mit jenen aus Galánta und Marosszék oder von Antonin Dvo ak mit den slawischen oder von Johannes Brahms mit den ungarischen Tänzen gemacht wurde. Die Hauptvorzüge des Werkes sind die bunte und abwechslungsreiche Instrumentierung, die geschmackvolle Verknüpfung des archaisierenden Tons mit derSprache der zeitgenössischen Musik und nicht zuletzt, dass alle Takte gut zu spielen und leicht aufzunehmen sind.
SKU: CN.S11042
This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.
SKU: CN.S11267
This arrangement of the entire March from A Moorside Suite brings this refreshing music to concert bands of all levels. It should be played with full appreciation of its splendid sense of purpose and direction, from the bold fanfare-like opening, based on a pair uplifting leaps of the interval of a fourth, in which every instrument takes part, right through to the exaltant flourish in the final bars marked Allegro vivace. Truly, a March to lift the spirits!Gustav Holst (1874-1934) can claim a distinction shared with a relatively small number of composers in that his music is more performed now than it was during his lifetime. A Moorside Suite, Holst's only work for brass band, is in three movements, Scherzo; Nocturne; March; and was written as the set work for the National Brass Band Championships of Great Britain in 1928. It has become recognized as one of the truly great original works for brass band. This arrangement of the entire March brings this refreshing music to concert bands of all levels. It should be played with full appreciation of its splendid sense of purpose and direction, from the bold fanfare-like opening, based on a pair uplifting leaps of the interval of a fourth, in which every instrument takes part, right through to the exaltant flourish in the final bars marked Allegro vivace. Truly, a March to lift the spirits!
SKU: CN.S11192
Hear the sounds of marching bands, choirs, and the music of Broadway in this exciting concert march. Inspired by an actual parade in New York, Michael Brand brings us this spectacular original march. Perfect in any setting throughout the year.In June 1997 I was in New York and had a free weekend. On Sunday morning I was awoken early by a great deal of banging and saw that barriers and roadblocks had been erected throughout Central Park. Why? I soon heard the answer: a great parade. When the Americans put together a parade they really mean it! This one lasted 3 hours and brought the center of New York to a standstill. Bands, dancers and choirs marched past in celebration of the Jewish faith. New York Parade is completely original but its starting point in my imagination was a marching band, a choir and Broadway. The marching band starts in the distance, passes by and as it moves away we hear the next block of performers singing, almost chanting, a hymn (called Jewish Song). The groups suddenly turn into Broadway, as a song from an imaginary show intervenes but then the band and choir return in counterpoint and all three themes come together.
SKU: CN.R10192
SKU: CN.S11254
Full of intrigue and mystery, Variations on a Bass Theme is a treat for the ears. A plethora of thematic material emerges out of tuba section in the opening bar, creating the jumping off point for the whole work. Lloyd takes the listener down numerous unexpected paths, conjuring many visual images along the way as if watching a movie.Variations on a Bass Theme was written in 1986 for brass band and the original version was titled Diversions on a Bass Theme. The composer himself wrote: This piece is a set of variations. Traditionally variations were what they said they were, i.e. a given tune was treated in a variety of ways. The pattern of this work is made the other way round: a number of tunes grow out of the first bar, played by the tubas, which provide the motif for the whole work. Arranger's Note: The suggestion to arrange the work for symphonic wind band came from George Lloyd: he felt the piece lent itself to such transcription and asked if I would be interested in undertaking it. Interestingly, he always referred to the piece as his Variations on a Bass Theme and I have reflected this in the title of this concert band version. In all other respects the work is exactly as George Lloyd wrote it.
SKU: CN.S11175
From majestic to pastoral to dance-like, Land of the Long White Cloud is Philip Sparke's representation of New Zealand. This piece is a wonderful addition to the concert band repetoire.Long before Europeans ventured out of sight of land, the bold and restless ancestors of the Maori people were making voyages of thousands of miles across the world's greatest oceans. It was around 1000 AD that they landed in New Zealand. The discovery of New Zealand is attributed in Maori tradition to Kupe and the circumstances of the landfall gave the country its Maori name. As land was approached, a long, flat volcanic cloud could be seen. Kupe's wife Hine-te-aparangi, looked to the horizon and cried out, He ao! He ao! A cloud! A cloud! The name of Aotearoa was given to the islands - The Land of the Long White Cloud. Land of the Long White Cloud was originally conceived as a brass band work as a result of a commission by the New Zealand Brass Band Association for their National Championships held in 1980 in Christchurch. This transcription by the composer was commissioned by Keith Allen and Birmingham Schools' Wind Orchestra who gave the first performance in the Adrian Boult Hall, Birmingham, England on Sunday 15 May 1988.
SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: CN.S11203
Freedom's Sword tells the tale of battle and reconciliation between two lands, deriving themes from the well-known Scottish song Ca' the yowes. Horn calls and pounding drums set the tone for the battle scenes while a dreamy alto saxophone solo creates an air of optimism.This work was originally commissioned by Nigel Boddice for the West Lothian Schools Brass Band to play at the European Youth Brass Band Championships in 1997 entitled Devolution to celebrate the setting up of the new Scottish Parliament. It appears in this revised version for Concert Band with the title Freedom's Sword. The opening section recalls days gone by when the Scots and English fought many a battle. The themes are derived from the well-known haunting song Ca' the yowes. The horn calls and off-stage percussion sound of a distant battle and it gradually comes closer. The centre section creates a mood of reconciliation with a dreamy Alto Saxophone solo. The last section now looks ahead with optimism and various bright dance themes appear based on traditional Scottish reel tunes, one of which is a two-part vocal scat section The piece then heads for its conclusion including a full statement of the main theme.
SKU: CN.R10203
SKU: CN.R10109
Marked by driving staccato eighth note ostinatos that are freely passed around the ensemble, Toccata keeps you on your toes from start to finish.Commissioned by the Tutbury Community Band, conductor Malcolm Heywood, this work was first performed on the occasion of the 900th anniversary of the foundation of Tutbury Church. Toccata originally meant 'touch piece' and is particularly associated with keyboard works of the Renaissance and Baroque. Stuart Johnson takes this spirit and transfers it to the concert band as staccato quavers, used as an ostinato against a rising bass theme. Later the accompaniment is transferred to other sections of the band, but the pulse is retained until a central, more lyrical section. A recapitulation of the allegro leads to a stirring climax.
SKU: CN.S11289
Full of lush harmonies and long sweeping melodic lines, Handel's Largo is from the G&M Brand Compact Band Series. Playable by as few as four players provided each of the four parts is covered, each 'choir' within the band - woodwinds, saxophones, Bb clarinets and brass - is complete so you may use contrasting choirs for different sections for variety.
SKU: CN.R10289
SKU: AP.38368
UPC: 038081441047. English.
Recently, the ladies of pop are ruling the charts and veteran writer Victor López has selected two very playable titles from Lady Gaga and Katy Perry's repertoire that will rock your audience. A dynamic duo of artists and tunes. Recognized by students and audiences alike, this pop duo is certain to please!
SKU: CN.R10210
Gorgeous. The Partita is a wonderful piece of music. Although this piece can be played by young bands, it is musically mature and will be an ideal center piece for any band concert, middle school through the university level. Bring the audience to you with Partita.Partita was originally composed for brass band in 1973. The work is in three movements, and uses material based on the 13th century plainsong 'Dies Irae. the opening Intrada is sombre. the second movement is a 'chorale and variations. the chorale melody follows the main outline of the plainsong. the five variations are varied in mood and intensity. the final March is much happier in mood and has a lyrical tune in the middle first heard on horns. However, references to the 'Dies Irae' are still apparent and the final bars of the work contain a quote from the opening movement.
SKU: CN.S11271
Touted as Britain's second national anthem, this stately tune by C. Hubert H. Parry transcribes beautifully for wind band and would be perfect for concert or festival settings.By the late 19th century Charles Hubert Parry was probably the most influential figure in English music. His works were performed at all the major festivals and as Director of the Royal College of Music, London, he founded a tradition of teaching form which many of the finest British composers benefitted. Much of his music nowadays in scarcely performed but some works have retained their popularity and none more than his setting of Blake's Jerusalem, published in 1916 and instantly taken up as an anthem during the First World War. Today it rivals Land of Hope and Glory in expressing the spirit of England in music.
SKU: CN.S11210
Georgeous. The Partita is a wonderful piece of music. Although this piece can be played by young bands, it is musically mature and will be an ideal center piece for any band concert, middle school through the university level. Bring the audience to you with Partita.'Partita' was originally composed for brass band in 1973. The work is in three movements, and uses material based on the 13th century plainsong 'Dies Irae. the opening Intrada is sombre. the second movement is a 'chorale and variations. the chorale melody follows the main outline of the plainsong. the five variations are varied in mood and intensity. the final March is much happier in mood and has a lyrical tune in the middle first heard on horns. However, references to the 'Dies Irae' are still apparent and the final bars of the work contain a quote from the opening movement.
SKU: CN.S11222
Could Dvorak have known that he was writing a standard piece for young bands when he created this piece? This rendition is ideal for a variety of occasions - concerts, graduation ceremony, and special events. Dvorak's arrangement for orchestra of 'The Old Folks at Home' was made in the 1890s for a Summer School held in Spillville, Iowa. Those attending were mostly drawn from a local Czech-speaking community and Dvorak enjoyed sharing time with people who spoke his own language. As instrumentalists the players were limited, many little more than beginners; yet in his arrangement Dvorak created a musically authentic and attractive setting of Stephen Foster's popular melody that is truly a masterpiece in economy of demand. Many years later, in 1942, Edwin Franko Goldman invited Erik Leidzen to transcribe Dvorak's arrangement for concert band.
SKU: CN.R10222
Could Dvorak have known that he was writing a standard piece for young bands when he created this piece? This rendition is ideal for a variety of occasions - concerts, graduation ceremony, and special events. 1/2/3 Dvorak's arrangement for orchestra of 'The Old Folks at Home' was made in the 1890s for a Summer School held in Spillville, Iowa. Those attending were mostly drawn from a local Czech-speaking community and Dvorak enjoyed sharing time with people who spoke his own language. As instrumentalists the players were limited, many little more than beginners; yet in his arrangement Dvorak created a musically authentic and attractive setting of Stephen Foster's popular melody that is truly a masterpiece in economy of demand. Many years later, in 1942, Edwin Franko Goldman invited Erik Leidzen to transcribe Dvorak's arrangement for concert band.
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