Category: TEST PIECES (Major Works) Composer: Steven Ponsford
Set as the 2nd. Section Test Piece for the 2017 National Finals of the British Brass Band Championships.
Performance Duration 9 minutes
This piece pays tribute to the vast heritage of Salvation Army brass band music. Written in one movement, it is rhapsodic in nature and quotes references from just a few of the many iconic pieces from the past, progressing naturally through the different styles of music; firstly marches, followed by meditations, major works and then solos. The underpinning theme that binds the work together is the much-loved hymn, by Timothy Dudley-Smith, drawing particular attention to the last line of the first verse; ‘Lord for the years, we bring our thanks today’. This is music of thanksgiving to the rich inheritance that inspires writers today to continue the mission of the gospel through this very special and unique genre.
Category: TEST PIECES (Major Works) Composer: Steven Ponsford
Set as the 2nd. Section Test Piece for the 2017 National Finals of the British Brass Band Championships.
This piece pays tribute to the vast heritage of Salvation Army brass band music. Written in one movement, it is rhapsodic in nature and quotes references from just a few of the many iconic pieces from the past, progressing naturally through the different styles of music; firstly marches, followed by meditations, major works and then solos. The underpinning theme that binds the work together is the much-loved hymn, by Timothy Dudley-Smith, drawing particular attention to the last line of the first verse; ‘Lord for the years, we bring our thanks today’. This is music of thanksgiving to the rich inheritance that inspires writers today to continue the mission of the gospel through this very special and unique genre.
Category: TEST PIECES (Major Works) Composer: Philip Sparke
Duration 15.40 Championship Section
MUSIC OF THE SPHERES was commissioned by the Yorkshire Building Society Band and first performed by them at the European Brass Band Championships in Glasgow, May 2004.
The piece reflects the composer's fascination with the origins of the universe and deep space in general.
The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek, which means scale or tuning rather than harmony – Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notes form the basis of the sections MUSIC OF THE SPHERES and HARMONIA.
The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the BIG BANG itself, as the entire universe bursts out from a single point.
A slower section follows called THE LONELY PLANET which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe.
ASTEROIDS AND SHOOTING STARS depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with THE UNKNOWN, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.
Category: TEST PIECES (Major Works) Composer / arranger: Stuart Pullin
Published for the 1997 Youth Championships.
1. Reflections 2. Memory 3. Vision
You can view the Solo Cornet part as a PDF image of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will reveal the PDF image for you to sample.
Categories: TEST PIECES (Major Works), SALVATIONIST MUSIC Composer: Dean Goffin
Salvation Army air varie
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Category: TEST PIECES (Major Works) Composer: Hendrik de Boer
Duration: 11.40
Difficulty: Difficult/Very Difficult
This piece has been commissioned by ZIMIHC for the European Brass Band Championships of 2018 in Utrecht, the Netherlands, and is the set work in the Challenge Section. The work has been dedicated to Chris van der Veen, a good friend of the composer who, together with him, formed the euphonium section of Soli Brass from Leeuwarden during the European Brass Band Championships of 2006 in Belfast, the first European Championships in which the composer participated as player.
In this piece, the Mystic Chord plays a central role. This chord, alternatively called the Prometheus Chord, frequently forms the harmonic and melodic basis of the later works of the Russian composer, Alexander Scriabin. The chord consists of six tones that together form a hexachord, a series of six consecutive tones. The hexachord is composed of successively: an augmented fourth, a diminished fourth, an augmented fourth, and two perfect fourths: C, F-sharp, B-flat, E, A, D. On the basis of this hexachord, a corresponding hexatonic music scale can be made: C-D-E-F-sharp-A-B-flat. The aforementioned hexachord and the corresponding music scale form the basis of this entire piece.
The first section consists of two parts. The first part (based on the mystic chord on C and on F-sharp) starts with an exposition of two characteristic atmospheres which will recur throughout the piece. The first atmosphere has a determined character and features short melodic motives, fixed rhythmic patterns, and technical passages. The second atmosphere has a contrasting, mysterious character and features lyrical melody lines, thrilling musical fields, and solo contributions from the cornet and the euphonium.
After the exposition of the two atmospheres, a second part with a continuation of the thematic material from the exposition follows based on the mystic chord on B-flat and on E. In this part, short percussive motives, fixed binary and ternary rhythms, and technical passages are used on the basis of the corresponding hexagonic music scales: a reference to the first atmosphere with the determined character. In addition, several recognizable major and minor chords can be distinguished, based on the tones of the mystical chords that have been used before.
The first section ends heroic, after which the soloists from this section (cornet and euphonium) carry over their role to the soloists of the second section (soprano cornet, flugelhorn, tenor horn and baritone).
The second section is also characterised by three different musical atmospheres that gradually transition, one into the other. All three atmospheres are based on the mystic chord on A and on D. The section starts out with a solemn atmosphere which might evoke the image of a procession with the listener. As the procession develops, more and more instruments take part in it. This creates a clearly distinguishable dynamic structure that turns into a mysterious atmosphere at its peak. This atmosphere is a clear reference to the second atmosphere of the first section; it is also characterised by lyrical melody lines, thrilling musical fields, and solo passages. The third atmosphere is a triumphant one and resembles the solemn atmosphere from the start of the second section. However, here the orchestra plays dynamically to the maximum from the start and works towards an intense climax. After this climax, the second section ends with a repetition of the mysterious atmosphere. For the last time, we can hear the solo contributions of the soprano cornet, flugelhorn, tenor horn and baritone.
The third section consists, like the first section, of two parts, both also based on the mystic chord on B-flat and on E. The first part starts out in a trance atmosphere which features the use of the drum kit, an upbeat rhythm, and dynamic effects. Subsequently, the trance atmosphere and the recurring, determined atmosphere from the beginning alternate. A few funky motives have been added to the recurring, determined atmosphere from the beginning with its fixed rhythmic patterns and technical passages. At the same time, the drum kit continues all the way throughout this section. In the last, euphoric trance section, the final soloist plays a central role: the trombone.
The second part forms a bombastic ending to the piece. It is characterised by a heroic and triumphant apotheosis. These are musical winks to the climaxes of the first and second sections. With the means of triad chords in major based on the six tones of the hexachord, C, F-sharp, B-flat, E, A, D, the piece comes to an exhilarating end.
Category: TEST PIECES (Major Works) Composer: Philip Harper
Set as the Third Section Test piece for the 2018 Regional Brass Band Championships of Great Britain.
Duration approx. 10.00 Commissioned by the Jugend Brass Band Forum Ostschweitz, Switzerland 2016
This piece is based on the famous oil painting by jacques-Louis David, ‘Napoleon Crossing the Alps’, painted between l80l and i805 and reproduced on the front cover here, The image shows Napoleon on horse-back as he leads his army across the Swiss Alps, and is highly idealized with the great French commander wearing a flowing red cape and gesturing self-confidently with his right hand.
The first part of the music is called ‘Approaching the Great Saint-Bernard Pass’ and depicts the snowy mountains looming in the distance and the determined march of the Napoleonic Army towards the crossing.
The second part is called ‘The Emperor Napoleon’ and we hear the great leader arrive on the scene with a noble and heroic theme, accompanied by stately fanfares with an exotic flavour. Before a full-toned recapitulation of the theme there is a brief quotation of Beethoven’s Symphony No. 3 ‘The Eroica' which is dedicated to Napoleon and his revolutionary ideals.
The third part is called ‘Onwards, to the Empire!‘ and the music describes Napoieon’s relentless drive to expand the French empire across the globe at the beginning of the nineteenth century. A solo fanfare from the cornet leads the charge and, one by one, everyone else takes up the call to arms as the music marches to its triumphant conclusion.
This piece was first performed directly in front of the Napoleon Museum in Arenenberg, Switzerland in Summer 2016.
Category: TEST PIECES (Major Works) Composer: Geoffrey Burgeon
Set as the 4th.Section Test Piece for the National Finals of the 2014 British Brass Band Championships.
Previously set as the 3rd. Section Testpiece for the National Brass Band Regional Championships 2000.
Duration 10.30
Click on MORE DETAILS to view the Solo Cornet part.
Narnia Suite is made from the incidental music written by Geoffrey Burgon for the BBC Television series The Chronicles of Narnia, based upon C.S. Lewis’s series of seven novels, the first and most well-known being The Lion, the Witch and the Wardrobe (1950). The pieces do not follow the chronology of the book, in which the lion, Aslan, dies after the Great Battle rather than before it.
The composer’s metronome markings are for guidance only. The music may well be more effective at slightly different speeds with different players.
The movements are :
01. Asian’s Theme. 02. The Storm at Sea. 03. The Death of Aslan. 04. The Journey to Harfang. 05. The Great Battle.
Category: TEST PIECES (Major Works) Composer / arranger: Andrew Jackman
The New Buckenham Suite was selected as the test piece for the Youth Section Finals of the National Brass Band Championships of Great Britain in 1990.
Please note that these parts are in hand written manuscript - quality very good.
NOTE The New Buckenham Suite was commissioned to celebrate the centenary (1887-1987) of the New Buckenham Silver Band and was first performed by them and the GUS band on 20th June 1987, conducted by the composer. Each of the four movements suggests a place or character associated with the village. (For the uninitiated it should be mentioned that ‘New’ Buckenham was established in the twelfth century!)
1 THE CASTLE (March) The fanfare-like march theme is underpinned by ominous tramping chords, conjuring up the grim history of a castle built in the reign of King Stephen when ‘Christ and His saints slept’. The music has its lighter moments, but the prevailing mood is one of darkness and oppression.
2 JOHN ELDRED, MERCHANT ADVENTURER (Fugue and Variations) Probably New Buckenham’s most famous son, John Eldred (1552-1632) left the village as a young man, and went to London to make his fortune. Like many prosperous merchants in the time of Queen Elizabeth I, he travelled to exotic shores, sending back fleets of ships laden with spices. His wealth greatly increased, and with the profits he built a large house at Great Saxham in Suffolk, which the local people nicknamed ‘Nutmeg Hall’. He lived on into the reign of Charles I and was buried in Great Saxham church, where you may see a striking bust and a memorial tablet recounting some of his exploits. The music begins with a short fugue suggesting the character of the young Eldred. The variations ‘embark’ on a sea voyage, with, later, a hint of Baghdad, an important trading centre for Eldred. A tempest rages, and when the storm finally blows itself out, the penultimate variation reflects the dignity of the Master of ‘Nutmeg Hall’. The final variation returns briefly to the opening music and serves as an epitaph to the merchant adventurer.
3 MARKET DAY (Rondo alla Burlesca) The Market House is still a feature of New Buckenham and here, without regard for authenticity, the music portrays a thriving market- day of yester-year. The two-part rondo theme, a perky rune and a hustle-bustle rhythm is varied on each appearance. Sandwiched between are three sections depicting market-day animals. They go in pairs — ducks and horses, sheep and cows, pigs and poultry. The listener is invited to spot the animals, and even wait for the hen to lay an egg! After the loudest statement of the hustle-bustle rhythm, we take quiet leave of the marketeers.
4 ST MARTIN’S CHURCH (Night Aria) As a contrast to the activity of the previous movement, the beautiful church of St Martin is here imagined on a moonlit night, long past waking hours. The simple melody is repeated with varied instrumentation and the work ends with a short coda. The piece is performable by a band carrying only one second cornet and one third cornet, but it is essential to have four solo comets and two each of euphonium, El’ bass and BI’. bass. The bass trombone part can be played by a third tenor trombone, playing the small notes where necessary (a separate part is provided in the set). In this case, the E I’ basses must play the cue from four bars before figure 2 in The Castle. If absolutely necessary the piece can be performed with only one percussion player, in which case the first percussion part must be used, playing the small-note cues where necessary, Three timpani are scored for, but two may be used, following the small-note alternatives, The Castle can be performed without timpani. Any of the four movements is performable as a separate item. There are two workable alternatives for a three-movement suite: numbers 2, 3 and 4, as written; and numbers 1, 2 and 3, using the alternative ending for number 3. Both these combinations would last about 15 minutes. There are three workable two-movement combinations: numbers 1 and 2 (9 mins); numbers I and 3 (9½ minutes); and numbers 2 and 3 (12 minutes).
Category: TEST PIECES (Major Works) Composer / arranger: Andrew Jackman
NOTE The New Buckenham Suite was commissioned to celebrate the centenary (1887-1987) of the New Buckenham Silver Band and was first performed by them and the GUS band on 20th June 1987, conducted by the composer. Each of the four movements suggests a place or character associated with the village. (For the uninitiated it should be mentioned that ‘New’ Buckenham was established in the twelfth century!)
1 THE CASTLE (March) The fanfare-like march theme is underpinned by ominous tramping chords, conjuring up the grim history of a castle built in the reign of King Stephen when ‘Christ and His saints slept’. The music has its lighter moments, but the prevailing mood is one of darkness and oppression.
2 JOHN ELDRED, MERCHANT ADVENTURER (Fugue and Variations) Probably New Buckenham’s most famous son, John Eldred (1552-1632) left the village as a young man, and went to London to make his fortune. Like many prosperous merchants in the time of Queen Elizabeth I, he travelled to exotic shores, sending back fleets of ships laden with spices. His wealth greatly increased, and with the profits he built a large house at Great Saxham in Suffolk, which the local people nicknamed ‘Nutmeg Hall’. He lived on into the reign of Charles I and was buried in Great Saxham church, where you may see a striking bust and a memorial tablet recounting some of his exploits. The music begins with a short fugue suggesting the character of the young Eldred. The variations ‘embark’ on a sea voyage, with, later, a hint of Baghdad, an important trading centre for Eldred. A tempest rages, and when the storm finally blows itself out, the penultimate variation reflects the dignity of the Master of ‘Nutmeg Hall’. The final variation returns briefly to the opening music and serves as an epitaph to the merchant adventurer.
3 MARKET DAY (Rondo alla Burlesca) The Market House is still a feature of New Buckenham and here, without regard for authenticity, the music portrays a thriving market- day of yester-year. The two-part rondo theme, a perky rune and a hustle-bustle rhythm is varied on each appearance. Sandwiched between are three sections depicting market-day animals. They go in pairs — ducks and horses, sheep and cows, pigs and poultry. The listener is invited to spot the animals, and even wait for the hen to lay an egg! After the loudest statement of the hustle-bustle rhythm, we take quiet leave of the marketeers.
4 ST MARTIN’S CHURCH (Night Aria) As a contrast to the activity of the previous movement, the beautiful church of St Martin is here imagined on a moonlit night, long past waking hours. The simple melody is repeated with varied instrumentation and the work ends with a short coda. The piece is performable by a band carrying only one second cornet and one third cornet, but it is essential to have four solo comets and two each of euphonium, El’ bass and BI’. bass. The bass trombone part can be played by a third tenor trombone, playing the small notes where necessary (a separate part is provided in the set). In this case, the E I’ basses must play the cue from four bars before figure 2 in The Castle. If absolutely necessary the piece can be performed with only one percussion player, in which case the first percussion part must be used, playing the small-note cues where necessary, Three timpani are scored for, but two may be used, following the small-note alternatives, The Castle can be performed without timpani. Any of the four movements is performable as a separate item. There are two workable alternatives for a three-movement suite: numbers 2, 3 and 4, as written; and numbers 1, 2 and 3, using the alternative ending for number 3. Both these combinations would last about 15 minutes. There are three workable two-movement combinations: numbers 1 and 2 (9 mins); numbers I and 3 (9½ minutes); and numbers 2 and 3 (12 minutes).
Category: TEST PIECES (Major Works) Composer: Nigel Hess
New London Pictures represents elements of London in the 21st Century.
The Millennium Bridge describes the pedestrian’s journey across this wonderful new landmark bridge over the Thames, starting at the imposing Tate Modern, crossing the busy river, and onwards to St. Paul’s Cathedral with its bells ringing out over the great city.
London Eye is an incredibly large ferris wheel situated on the South Bank of the River Thames. This movement depicts a ‘flight’ on this riverside wheel, at the top of which the panoramic view of London is breath-taking and the expanse of the music is a suitable depiction of the view. As with all modern cities, London is over-crowded with motor vehicles.
London is the first major city in Europe to adopt a Congestion Charge, and this piece (with its stop and go traffic lights) is both racy and comical. Here are Londoners attempting to go about their business in the face of overwhelming odds.....
Brass Band Grade 4/5
Duration: 15 minutes.
Grade equivalents for Brass Band test-pieces where there is considerable overlap at the higher levels, depending on the level of competition (local, regional or national):
To view 
