Wi' A Hundred Pipers Orchestre d'harmonie [Conducteur] G and M Brand Music Publishers
Musings on a Scottish Jig. Composed by Robert Farnon (1917-). Band Music....(+)
Musings on a Scottish
Jig. Composed by
Robert Farnon (1917-).
Band Music. Score only.
Duration 3:30. Published
by G & M Brand Music
Publishers (CN.S11072).
Composed by
Stuart Johnson. Band
Music. Score only.
Duration 12:00. Published
by G & M Brand Music
Publishers (CN.S11268).
Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Dances of
Time was commissioned by
the National School Band
Association and first
performed on 10 June 2000
at the Adrian Boult Hall,
Birmingham Conservatoire,
University of Central
England, by the Aldridge
School Wind Band ,
conducted by the
composer. Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Composed by Adam Gorb.
Band Music. Score only.
Duration 4:10. Published
by G & M Brand Music
Publishers (CN.S11261).
The three short
movements in this work
should be played in an
outdoor spirit. Three Way
Suite is intended for the
beginner band although
more advanced ensembles
shouldn't disregard it.
The movements are titled:
Marching Forwards,
Swaying Sideways, and
Running Away..
Song of
the Auvergne.
Composed by Kevin
Thompson. Band Music.
Score and parts. Duration
3:30. Published by G & M
Brand Music Publishers
(CN.R10104).
This beautiful
song reflects the
tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing.
This
beautiful song reflects
the tranquillity of the
French countryside. Dr.
Kevin Thompson is a
leading British authority
on bands and his
sensitive score is ideal
for smaller groups,
providing training for
phrasing and ensemble
playing. Professor Kevin
Thompson is Principal and
Chief Executive of
Dartington College of
Arts, a University Sector
institution dedicated to
the performance
arts.After undergraduate
studies at the Royal
Northern College of
Music, he gained masters
and subsequently doctoral
degrees at the University
of London. He began his
career as a professional
trumpet player,
conductor, composer and
teacher. He was the
architect of University
of Salford's degree in
band musicianship,
launched in 1987 and the
first of its kind. From
1988 - 1993 he was
Principal of Birmingham
Conservatoire and during
this time was elected to
a personal professorship
and subsequently a
Deanship chair.On his
arrival at Dartington, he
was made an honorary
Professor by the
University of Plymouth.
In 1992 he gained a
Winston Churchill
Fellowship to study the
Great American Music
Schools: Juilliard,
Curtis, Eastman, Indiana.
Other awards include
those of the British
Association for American
Studies and the British
Council for the Royal
Danish Academy of Music.
He is a Freeman of the
City of London. His
publications include a
book on brass and wind
bands published by
Cambridge University,
many articles in Times
Newspaper and other
leading British and
American journals. The
book on wind and brass
bands became a key text
in many college and
university reading lists
and was read extensively
throughout the English
speaking world,
particularly in North
America and the Pacific
Rim. He is joint editor,
with Dr Gordon Cox of the
new eleven volume series
on brass playing and
teaching and author of
two of the volumes.
A. G. Villoldo: El Choclo Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By A. G. Villoldo. Arranged by Robert Longfield. Concert Band. Level: Grade 3.5....(+)
By A. G. Villoldo.
Arranged by Robert
Longfield. Concert Band.
Level: Grade 3.5. Score
and set of parts.
Composed 2006. Duration
0:04:05. Published by
C.L. Barnhouse.
(Saxophone Feature). By Jere Hutcheson. Concert Band. For Soloist(s) with Band (...(+)
(Saxophone Feature). By
Jere Hutcheson. Concert
Band. For Soloist(s) with
Band (Piccolo, Flute
1/2/3, Oboe 1/2, English
Horn, Soprano Clarinet in
Eb, Clarinet in Bb 1/2/3,
Bass Clarinet in Bb,
Bassoon 1/2, SOLO ALTO
SAXOPHONE (doubling
Soprano Saxophone in 2nd
mvt), Trumpet in Bb, Horn
in F 1/2, Trombone 1,
Bass Trombone, Euphonium,
). Band Music. Grade 5.
Score. Composed 2007.
Duration 18:00. Published
by G & M Brand Music
Publishers
By Johann Sebastian Bach. Trans. Roland L. Moelmann. For Concert Band. Concert B...(+)
By Johann Sebastian Bach.
Trans. Roland L.
Moelmann. For Concert
Band. Concert Band.
Concert Band. Level: 3
(Medium Easy) (grade 3).
Conductor Score. 16
pages. Published by
Alfred Publishing.
Concert band (Flute 1,
Flute 2, Oboe 1, Oboe 2*,
Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Eb Alto Clarinet*, Bb
Bass Clarinet*, Bassoon
1, Bassoon 2*, Alto
Saxophone, Alto
Saxophone, Tenor
Saxophone*, Baritone
Saxophone*, Horn in F 1,
Horn in F 2, Horn in F 3,
Horn) - grade 4
SKU:
CN.S11181
Composed by
Bruce Fraser. Band Music.
Score only. Duration
5:50. Published by G & M
Brand Music Publishers
(CN.S11181).
This blazing
fast work suggests
spectacular fireworks and
other such explosions
with off-beat accents in
the driving snare drum
and timpani. Set in the
standard fast-slow-fast
sections, an alto
saxophone soloist moves
into the spotlight during
the slower expressive
section.
Firepower
was the code name for the
planning of the 1997
Royal Tournament by
Michael Parker
(producer). I met Michael
Parker in the summer of
1996 and he outlined an
idea based on a firework
festival he had seen in
Valencia Spain. This
sparked off some musical
ideas and the result is
this piece. The off-beat
accents in the percussion
part suggests explosions,
and there are moments
which suggest spectacular
fireworks. The work is in
three sections, two very
fast outer parts
surrounding a slower,
more expressive
opportunity for the alto
sax soloist.
Composed by Stuart
Johnson. Band Music.
Score and parts. Duration
6:00. Published by G & M
Brand Music Publishers
(CN.R10066).
The opening
theme, stated in a
Maestoso unison, provides
the musical kernel for
the entire work. The
composer cleverly
exploits all the rhythmic
possibilities inherent
within the chosen theme
to provide a piece which
is serious enough for
detailed study and
Festival usage, yet
entertaining at the same
time.
Symphonic
Variations was
commissioned by Swindon
Young Musicians' Club
with funds provided by
the W H Smith Arts
Programme, and first
performed by Swindon
Young Musicians,
conducted by Bramwell
Tovey, at the Wyvern
Theatre on January 29,
1989. The opening theme,
stated in a Maestoso
unison, provides the
musical kernel for the
entire work. The composer
cleverly exploits all the
rhythmic possibilities
inherent within the
chosen theme to provide a
piece which is serious
enough for detailed study
and Festival usage, yet
entertaining at the same
time.
Composed by E. Leidzen.
Arranged by E. Leidzen.
Band Music. Score only.
Duration 2:30. Published
by G & M Brand Music
Publishers (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.
Composed by
Pete Meechan. Band Music.
Score and parts. Duration
3:40. Published by G & M
Brand Music Publishers
(CN.R10269).
Carnival! is a
samba set in the famous
streets of Rio.
Performers should be
encouraged to treat it in
a big band style and
really go for it. The
percussion should use the
notated samba pattern as
a basis for what you can
achieve - playing more
than one instrument,
maybe cymbals or a
whistle - even a drum
kit! There is a section
for solos in the
percussion if
desired.
Carnival!
is a samba set in the
famous streets of Rio.
Performers should be
encouraged to treat it in
a big band style and
really go for it. The
percussion should use the
notated samba pattern as
a basis for what you can
achieve - playing more
than one instrument,
maybe cymbals or a
whistle - even a drum
kit! There is a section
for solos in the
percussion if
desired.
Concert band (Flute 1,
Flute 2, Oboe 1, Oboe 2*,
Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Eb Alto Clarinet*, Bb
Bass Clarinet*, Bassoon
1, Bassoon 2*, Alto
Saxophone, Alto
Saxophone, Tenor
Saxophone*, Baritone
Saxophone*, Horn in F 1,
Horn in F 2, Horn in F 3,
Horn) - grade 4
SKU:
CN.R10181
Composed by
Bruce Fraser. Band Music.
Score and parts. Duration
5:50. Published by G & M
Brand Music Publishers
(CN.R10181).
This blazing
fast work suggests
spectacular fireworks and
other such explosions
with off-beat accents in
the driving snare drum
and timpani. Set in the
standard fast-slow-fast
sections, an alto
saxophone soloist moves
into the spotlight during
the slower expressive
section.
Firepower
was the code name for the
planning of the 1997
Royal Tournament by
Michael Parker
(producer). I met Michael
Parker in the summer of
1996 and he outlined an
idea based on a firework
festival he had seen in
Valencia Spain. This
sparked off some musical
ideas and the result is
this piece. The off-beat
accents in the percussion
part suggests explosions,
and there are moments
which suggest spectacular
fireworks. The work is in
three sections, two very
fast outer parts
surrounding a slower,
more expressive
opportunity for the alto
sax soloist.
March. Composed by
Rimmer. Arranged by
Geoffrey Brand. Score and
parts. Duration 4:45.
Published by G & M Brand
Music Publishers
(CN.R10308).
For many,
Lancastrian William
Rimmer is Britain's
'March King'. His marches
are wonderful, every one
with its own unique
personality and form.
Like Sousa, he also
created and played a vast
catalogue of band music
ranging from waltzes and
solos to great selections
from the masters, but it
is for his marches that
he is remembered
today.
From 'Enigma'.
Composed by Geoffrey
Brand. Arranged by
Geoffrey Brand. Band
Music. Score only.
Duration 2:00/4:00.
Published by G & M Brand
Music Publishers
(CN.S11073).
From 'Orpheus'.
Composed by E.
Michaelson. Arranged by
Edward Michaelson. Band
Music. Score only.
Duration 3:45. Published
by G & M Brand Music
Publishers (CN.S11185).
Michaelson
utilizes the flutes as
the featured instrument
in this heartbreaking
arrangement of Gluck's
most famous aria from the
opera Orpheus. Orpheus is
in despair at this point
in the opera: he sings of
losing his love Eruidice,
She is gone and gone
forever, (Che Faro senza
Euridice). What is the
point of staying on earth
without her?
This
is probably Gluck's most
famous aria, coming from
the opera Orpheus which
was based on the Greek
legend and produced in
Vienna in 1762. Orpheus
is in despair at this
point in the opera: he
sings of losing his love
Eruidice, She is gone and
gone forever, (Che Faro
senza Euridice). What is
the point of staying on
earth without her?
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.
Composed by Bruce Fraser.
Band Music. Score and
parts. Duration 4:30.
Published by G & M Brand
Music Publishers
(CN.R10224).
Recall the days
of waiting on the modem?
The opening of this work
imitates the tones and
burbling noises of a
modem or fax. A lovely
ballad follows before
quickly returning to the
previous
material.
The idea
for this work came from
listening to my modem
while logging on to the
Internet. I realize that
some modems log on
silently, but the opening
of this work imitates the
tones and burbling noises
of a modem or fax. There
were two musical features
I picked our - the
pitches of the dialing
tones are subsequently
used to create the
melodies, and the
syncopated falling octave
figure is used in
accompaniment figures.
The opening Allegro will
work at a faster tempo if
desired, but make sure
that clarity is
maintained. The middle
section should be
carefully balanced and
allowed to flow.
Composed by Bruce Fraser.
Band Music. Score.
Duration 7:00. Published
by G & M Brand Music
Publishers (CN.S11278).
This
three-movement gem
captures the composer's
different impressions of
Italy beautifully,
evident in the
programmatic titles of
each movement - Last
night we danced the
Tarantella, The Sistine
Chapel is staggeringly
beautiful and The view
from the top of Vesuvius
is amazing. Take your
students on a field trip
to Italy without leaving
the band
room!
Scottish
composer Bruce Fraser
spends much time in Italy
and has become well-known
in that country as
composer, conductor, and
adjudicator. It was
inevitable that some of
his Italian impressions
would find their way into
his music - and this
three movement gem
captures the different
moods beautifully. 1)
Last Night we danced the
Tarantella 2) The Sistine
Chapel is staggeringly
beautiful 3) The view
from the top of Vesuvius
is amazing.
Concert band (Flute 1,
Flute 2/Piccolo, Oboe, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Alto
Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombone 1/2,
Trombone) - grade 3
SKU: CN.S11293
Composed by Peter
Meechan. Score only.
Duration 4:15. Published
by G & M Brand Music
Publishers (CN.S11293).
Inspired by the
release of Nelson Mandela
in the early 1990s, Hymn
for Africa pays tribute
to the sense of dignity
and peace that he brought
not only to South Africa,
but around the entire
globe. As the beautifully
lush chorale unfolds,
quietly undulating drums
murmur in the distance
and gradually build into
a rousing
climax.
Hymn for
Africa was written as
part of a project known
as Brass Band Aid. When I
was asked to compose a
piece with relevance to
Africa for the project, I
began to think of all the
things that I associate
with Africa. I have vivid
memories from my
childhood of the
hard-hitting news reports
from the famines of the
early/mid 1980's (and the
concerts that followed).
I also associate Africa
with amazing animal life
- the many species from
snakes to birds to lions,
with their many colours.
But more than these
associations, there is
one memory that stands
out amongst all others.
The release of Nelson
Mandela in the early
1990's had a profound
effect not only in South
Africa, but all over the
continent of Africa, as
well as the World as a
whole. The fact that one
man can achieve this with
peace and great dignity
will always be an
inspiration, not only to
me, but many, many
millions of humans around
the globe. Hymn for
Africa is inspired by
this sense of dignity and
peace. A simple eight bar
melody is the basis of
the composition. A drone
is then added, before a
chorale, and finally a
rousing climax when the
percussion and full band
enter. The piece
dedicated to Bob and
Briony Thompson in
admiration.
Composed by Bruce Fraser.
Band Music. Score only.
Duration 8:30. Published
by G & M Brand Music
Publishers (CN.S11238).
Inspired by
Saint-Saens' Carnival of
the Animals, this work
depicts many of the
insects we know and love
using interesting effects
like tapping small
sticks. Bands may like to
perform the Carnival as a
complete suite or to play
individual movements on
their
own.
Carnival of
the Insects was
commissioned by the
National School Band
Association and was first
performed at the Scottish
Festival organized by
NSBA and Brian Duguid of
West Lothian Arts on May
12, 2001. The music
letters SBA were used to
form the basis of the
melodies to personalize
the piece for the
Association. (S can be
Eb, B can be Bb using
European note names.) The
Carnival is inspired by
Saint Saens Carnival of
the Animals and derives a
lot of the rhythmic
structures from it. March
of the Ants - The Thin
Black Line The composer
was reminded of a French
holiday when a line of
ants would march every
night from the gate of
the house, past the pool
and up into the garden.
Crickets and stick
insects Here the composer
remembered balmy
Mediterranean nights and
the sound of crickets. An
interesting effect is to
have small groups of
players around the
performance venue
randomly tapping small
sticks throughout this
movement. Insectivores
These are the creatures
which eat insects and the
music has a dramatic
scary feel to it with a
chase in the middle.
Metamorphosis This is
where the caterpillar
changes into a butterfly.
The Euphonium melody will
strike the listener as
being very similar to The
Elephant. The Bug Parade
This is a grand finales
where we can imagine many
of the insects in a
Disney-like parade. Bands
may like to perform the
Carnival as a complete
suite or to play
individual movements on
their own.
