Arranged by John G. Mortimer. Concert Band. Swiss import. Score and parts. Published by Editions Marc Reift. (EMR 1389) Level: 4+.

Concert band - grade 3.5

SKU: CN.S11071

Composed by Gordon Jacob. Brass Ensemble Music. Score only. Published by G & M Brand Music Publishers (CN.S11071).

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Tru) - grade 3

SKU: CN.S11103

Composed by Stuart Johnson. Band Music. Score only. Duration 6:00. Published by G & M Brand Music Publishers (CN.S11103).

Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

Stuart Johnson has the fine ability to capture moods and scenes in music. He was born in Staffordshire, the county for which he was Director of Music until his retirement in 1997. After experience as a player in brass bands, he served in the band of the King's Dragoon Guards before training as a teacher and working in schools. Following a period as a lecturer at Northumberland College of Education he became Music Adviser to the Metropolitan District of Sandwell prior to his appointment to Staffordshire. He has long experience as a conductor, particularly in the choral and band fields and also wide experience as an adjudicator and examiner. He has written prolifically for bands and orchestras and his didactic publications are used in many countries. He has over eighty published compositions and arrangements, many of which have been broadcast on radio or television. His commissioned works include the cantata David and Goliath which was first performed at the Royal Festival Hall, Oregon Overture for wind orchestra, Landscapes, Sinfonietta No 2, Wessex Dances and A Castle Suite. Stuart Johnson has recently completed several commissions, funded by National Lottery grants, for bands in Cumbria, the Isle of Wight, and Staffordshire. Requiem for Soprano, Chorus and Orchestra, was premiered successfully in front of a capacity audience in Lichfield Cathedral in March 1997, and received its first London performance at St. John's Smith Square in March 1998. This prestigious venue also saw the first performance of Songs and Sonnets for unaccompanied mixed choir in 2001. Stuart Johnson has written extensively for the theatre, his music for the production of Anna of the Five Towns was used for both the radio and television adaptations His music ranges in style from the evocative and demanding Sinfonietta for Wind Orchestra, which has received many performances since its premiere in the Royal Festival Hall, including a broadcast by the Band of the Scots Guards, to his ubiquitous Bandstand Boogie which has set feet tapping all over the world. Apart from the latter his most performed work is probably Circus Suite which was the British Youth Band Championship test piece in 1980. Northumbrian Suite and Landscapes have also been used as National Brass Band Championship test pieces. The Flint Knappers commissioned as a test piece for the 1998 East Anglian Band Festival was selected as a test piece for the 1999 Australian Championships. Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Tru) - grade 3

SKU: CN.R10103

Composed by Stuart Johnson. Band Music. Score and parts. Duration 6:00. Published by G & M Brand Music Publishers (CN.R10103).

Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

Stuart Johnson has the fine ability to capture moods and scenes in music. He was born in Staffordshire, the county for which he was Director of Music until his retirement in 1997. After experience as a player in brass bands, he served in the band of the King's Dragoon Guards before training as a teacher and working in schools. Following a period as a lecturer at Northumberland College of Education he became Music Adviser to the Metropolitan District of Sandwell prior to his appointment to Staffordshire. He has long experience as a conductor, particularly in the choral and band fields and also wide experience as an adjudicator and examiner. He has written prolifically for bands and orchestras and his didactic publications are used in many countries. He has over eighty published compositions and arrangements, many of which have been broadcast on radio or television. His commissioned works include the cantata David and Goliath which was first performed at the Royal Festival Hall, Oregon Overture for wind orchestra, Landscapes, Sinfonietta No 2, Wessex Dances and A Castle Suite. Stuart Johnson has recently completed several commissions, funded by National Lottery grants, for bands in Cumbria, the Isle of Wight, and Staffordshire. Requiem for Soprano, Chorus and Orchestra, was premiered successfully in front of a capacity audience in Lichfield Cathedral in March 1997, and received its first London performance at St. John's Smith Square in March 1998. This prestigious venue also saw the first performance of Songs and Sonnets for unaccompanied mixed choir in 2001. Stuart Johnson has written extensively for the theatre, his music for the production of Anna of the Five Towns was used for both the radio and television adaptations His music ranges in style from the evocative and demanding Sinfonietta for Wind Orchestra, which has received many performances since its premiere in the Royal Festival Hall, including a broadcast by the Band of the Scots Guards, to his ubiquitous Bandstand Boogie which has set feet tapping all over the world. Apart from the latter his most performed work is probably Circus Suite which was the British Youth Band Championship test piece in 1980. Northumbrian Suite and Landscapes have also been used as National Brass Band Championship test pieces. The Flint Knappers commissioned as a test piece for the 1998 East Anglian Band Festival was selected as a test piece for the 1999 Australian Championships. Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

((Monty Python Theme)). By John Philip Sousa (1854-1932). Arranged by Stuart Johnson. For Concert Band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpe). Band Music. Grade 3. Score. Duration 4:00. Published by G & M Brand Music Publishers

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bassoon, 2nd Bassoon, Solo Bb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Bb Contra Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Barito) - grade 5

SKU: CN.R10011

Composed by John Ireland. Band Music. Score and parts. Duration 10:00. Published by G & M Brand Music Publishers (CN.R10011).

Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!

A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves.

Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3, Eb Alto Clarinet, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Cornet (in Bb) 1-3, Trumpet (in Bb) 1/2, French Horn 1-4 , Trombone 1-3, Euphonium, Tuba, Stri) - grade 4

SKU: CN.S11242

Composed by Adam Gorb. Arranged by Michael Brand. Band Music. Score only. Duration 4:20. Published by G & M Brand Music Publishers (CN.S11242).

Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.

This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost.

Concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, Euphonium , (TC Baritone), Tuba, Timpani, Percussi) - grade 1.5

SKU: CN.S11169

2nd Movement. Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score only. Duration 2:20. Published by G & M Brand Music Publishers (CN.S11169).

Schubert's 5th Symphony is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Schubert's delightful 5th Symphony in Bb Major, written in 1816, is a miniature, perhaps consciously avoiding comparison with Beethoven's Fifth, written just 10 years earlier. Schubert's Great was to come later! The work is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, Euphonium , (TC Baritone), Tuba, Timpani, Percussi) - grade 1.5

SKU: CN.R10169

2nd Movement. Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 2:20. Published by G & M Brand Music Publishers (CN.R10169).

Schubert's 5th Symphony is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Schubert's delightful 5th Symphony in Bb Major, written in 1816, is a miniature, perhaps consciously avoiding comparison with Beethoven's Fifth, written just 10 years earlier. Schubert's Great was to come later! The work is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bassoon, 2nd Bassoon, Solo Bb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Bb Contra Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Barito) - grade 5

SKU: CN.S11011

Composed by John Ireland. Band Music. Pioneer Band Series. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11011).

Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!

Concert band (Flute 1, Flute 2, Oboe*, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet*, Bassoon*, Eb Alto Saxophone 1*, Eb Alto Saxophone 2*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, F Horn 1, F Horn 2, Bb Trumpet 1, Bb Trumpet 2, Trombone 1, Trombon) - grade 2.5

SKU: CN.R10074

Composed by Stuart Johnson. Band Music. Score and parts. Published by G & M Brand Music Publishers (CN.R10074).

This is one of a series of pieces by Stuart Johnson in the hugely popular Bandstand series. As always, it is tuneful, rhythmic, and based on a song or dance style. The others in the series are Boogie, Blues, and Ragtime, and all of them offer the unmistakable Johnson touch.

Concert band (Flute 1, Flute 2/Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet*, Bassoon*, Alto Saxophone*, Tenor Saxophone*, Baritone Saxophone*, Horn in F 1, Horn in F 2, Bb Trumpet/Cornet 1, Bb Trumpet/Cornet 2, Trombone*, Euphonium*, (Baritone T) - grade 2

SKU: CN.R10147

Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 3:30. Published by G & M Brand Music Publishers (CN.R10147).

That Gilbert & Sullivan's operettas have survived and are loved everywhere is partly due to Gilbert's witty libretti, but it is Sullivan's tunes which have made the works timeless. In this arrangement, Stuart Johnson skillfully combines 'The Lord High Executioner' (from 'The Mikado') with 'Cat Like Tread' (from 'Pirates of Penzance').

Concert band (Flute 1, Flute 2, Oboe*, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet*, Bassoon*, Alto Saxophone 1/2*, Tenor Saxophone*, Baritone Saxophone*, Horn in F 1, Horn in F 2, Bb Trumpet 1, Bb Trumpet 2, Trombone 1, Trombone 2*, Euphonium, (Barit) - grade 3

SKU: CN.R10109

Composed by Stuart Johnson. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 4:00. Published by G & M Brand Music Publishers (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.

Commission ed 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.

Concert band (Flute 1, Flute 2/Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet*, Bassoon*, Alto Saxophone*, Tenor Saxophone*, Baritone Saxophone*, Horn in F 1, Horn in F 2, Bb Trumpet/Cornet 1, Bb Trumpet/Cornet 2, Trombone*, Euphonium*, (Baritone T) - grade 2

SKU: CN.S11147

Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score only. Duration 3:30. Published by G & M Brand Music Publishers (CN.S11147).

That Gilbert & Sullivan's operettas have survived and are loved everywhere is partly due to Gilbert's witty libretti, but it is Sullivan's tunes which have made the works timeless. In this arrangement, Stuart Johnson skillfully combines 'The Lord High Executioner' (from 'The Mikado') with 'Cat Like Tread' (from 'Pirates of Penzance').

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 1st F Horn, 2nd F Hor) - grade 2.5

SKU: CN.R10200

Composed by Stuart Johnson. Arranged by Rodney Bashford. Band Music. Score and parts. Duration 5:00. Published by G & M Brand Music Publishers (CN.R10200).

Top educational composer Stuart Johnson weaves folk songs from the Northeast of England (often sung by working men) into an imaginative fantasy.

Concert band (1st Flute, 2nd Flute , Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trump) - grade 2

SKU: CN.R10135

Arranged by Stuart Johnson. Band Music. Score and parts. Duration 3:15. Published by G & M Brand Music Publishers (CN.R10135).

Perhaps the most famous of all Irish folksongs is given a simple but haunting treatment by Stuart Johnson, featuring the lower register of the flutes.

Concert band (Flute 1, Flute 2, Oboe*, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet*, Bb Bass Clarinet*, Bassoon*, Alto Saxophone 1*, Alto Saxophone 2*, Tenor Saxophone 1*, Tenor Saxophone 2 *, Baritone Saxophone*, Horn in F 1, Horn in F 2, Bb Trumpet ) - grade 2.5

SKU: CN.S11112

Composed by Stuart Johnson. Band Music. Score only. Duration 3:15. Published by G & M Brand Music Publishers (CN.S11112).

Stuart Johnson is an acknowledged expert at scoring for young groups. Vive La France is a perfect example of his art: it makes familiar material interesting to play whilst being effective with minimal instrumentation.

Concert band (flute 1, flute 2, oboe, Bb clarinet 1, Bb clarinet 2, Bb clarinet 3, Bb bass clarinet, bassoon, Eb alto saxophone, Bb tenor saxophone, Eb baritone saxophone, Bb trumpet 1/2, F horn 1/2, trombone 1/2, euphonium (T.C, baritone ) tuba, percussion 1, percussi) - grade 3

SKU: CN.R10078

Composed by Stuart Johnson. Band Music. Score and parts. Published by G & M Brand Music Publishers (CN.R10078).

This Samba has an infectious rhythm and this addition to the Stuart Johnson Bandstand series will certainly make your audience want to get up and dance. At the same time, it is good practice for achieving a style which is disciplined but relaxed!

Concert band (1st Flute, 2nd Flute/Piccolo, Oboe, 1st Bb Clarinet, 2nd/3rd Bb Clarinet, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, 1st/2nd Bb Trumpet, 1st/2nd F Horn, 1st/2nd Trombone, Euphonium, TC Baritone, Solo Tuba, Per) - grade 2.5

SKU: CN.R10141

Tuba Feature. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 3:00. Published by G & M Brand Music Publishers (CN.R10141).

This feature is suitable for soloists or section. Why not sit the tubas in front of the band and let the audience see them enjoying themselves? The accompaniment is straightforward but effective in true Stuart Johnson style.

Concert band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet/Cornet 1, Bb Trumpet/Cornet 2, Horn in F 1, Horn in F 2, Trombone 1, Trombone 2, Trombone 3) - grade 2.5

SKU: CN.R10133

Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 3:00. Published by G & M Brand Music Publishers (CN.R10133).

The waltzes of Johann Strauss were meant for dancing and this delightful piece is no exception.

Johann Strauss (the younger) was only six when he wrote his first waltz and it was obvious at an early stage that he would rival and outshine his father. His waltzes were meant for dancing - the opening bar is for partners to bow by way of introduction to each other - and when the Emporor Waltz was written in 1888, Strauss was director of the Imperial Court Balls in Vienna.

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 1st F Horn, 2nd F Hor) - grade 2.5

SKU: CN.S11200

Composed by Stuart Johnson. Band Music. Score only. Duration 5:00. Published by G & M Brand Music Publishers (CN.S11200).

Top educational composer Stuart Johnson weaves folk songs from the Northeast of England (often sung by working men) into an imaginative fantasy.

Concert band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bas Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet/Trumpet 1, Bb Cornet/Trumpet 2, Horn in F 1, Horn in F 2, Trombone 1, Trombone 2, Eup) - grade 2.5

SKU: CN.R10077

Composed by Stuart Johnson. Band Music. Score and parts. Duration 3:00. Published by G & M Brand Music Publishers (CN.R10077).

Following his hugely successful Bandstand Boogie, Stuart Johnson has brought us the world of the 'Flapper!' Twenties style - but simple & effective.

Concert band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet/Cornet 1, Bb Trumpet/Cornet 2, Horn in F 1, Horn in F 2, Trombone 1, Trombone 2, Trombone 3) - grade 2.5

SKU: CN.S11133

Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score only. Duration 3:00. Published by G & M Brand Music Publishers (CN.S11133).

The waltzes of Johann Strauss were meant for dancing and this delightful piece is no exception.

Johann Strauss (the younger) was only six when he wrote his first waltz and it was obvious at an early stage that he would rival and outshine his father. His waltzes were meant for dancing - the opening bar is for partners to bow by way of introduction to each other - and when the Emporor Waltz was written in 1888, Strauss was director of the Imperial Court Balls in Vienna.

Score and Parts. By Edwin Franko Goldman. Arranged by Johnnie Vinson. Schirmer Concert Band. 160 pages. Published by G. Schirmer, Inc.

By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Yamaha Band Series. Level: Level 1 (grade 1). Conductor Score & Parts. 1 pages. Published by Alfred Publishing.

Composed by John Barry. Arranged by John G. Mortimer. Cinema and Musical. Duration 4'01. Published by Editions Marc Reift (MA.EMR-10737).

By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Accent on Achievement. Level: 1 (Very Easy) (grade 1). Conductor Score. 8 pages. Published by Alfred Publishing.

Arranged by Sandy Feldstein, John O'reilly. Arr. Sandy Feldstein and John O'Reilly. For Concert Band. Concert Band. Basic Band Series. Level: 1 (Very Easy) (grade 1). Conductor Score and Parts. 1 pages. Published by Alfred Publishing.

By John Ireland. Concert Band. Band Music. Score. Published by G & M Brand Music Publishers.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (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.