Light concert music from Bernaerts, Chandos, DeHaske, Faber, Gramercy, Howard Snell, Kirklees, Lake Music, Novello, Obrasso, R Smith, Salvation Army, Studio Music, Windwood Music, Wright & Round and many, many more.
Categories: LIGHT CONCERT MUSIC, Howard Snell Music Composer / arranger: Howard Snell
Howard Snell writes :
Having played many performances of 'Pictures at an Exhibition' (in different arrangements) in the LSO, then having taken part in the première recording of the brass version, I felt an irresistible urge to scratch the itch... to take the mickey. Exhibition Can-Can was the result.
Categories: FILM MUSIC & MUSICALS, LIGHT CONCERT MUSIC Composers: Boone, Gold Arranger: Johan de Meij
Click on "MORE DETAILS" ( to the right of your screen ) to view an image (PDF) of the 1st.Trumpet/Cornet part.
The movie picture “Exodus” by film director Otto Preminger with Paul Newman in the cast is based on a novel with the same title by Leon Uris. The title-song (with lyrics by Pat Boone) survived the film, as is often the case, and has been performed by great artists and has also been arranged several times.
This arrangement can be performed as well instrumentally, as with a singer, with a mixed choir or a male choir. duration 4.20
Categories: NEW & RECENT Publications, LIGHT CONCERT MUSIC Composer: Paul Lovatt-Cooper
Duration 7.30
Programme Notes
"Explosion" was composed for the National Children's Brass Band of Great Britain 2019.As the title suggests the piece is an explosion of different popular musical styles — pop, dance, ballad, disco, samba and club.
For my starting point, I took the letters from the words Chi/dren’s Band as the notes for the main melody — ChilDrEns BAnD (C,D,E,B,A,D). These notes form the basis for the whole work and are incorporated in each section and varying musical styles in the work. The fanfare style opening does exactly that when you hear the back row and trombones play C, D, E__, then two bars later the resolve: B, A, D__. After the opening you then hear the main theme of the piece — C, D, E__, B_, A_, l_D which repeats.
We then come to a rhythmic and dance like 7/8 section. This 2"“ movement uses the original theme but in retrograde (performed backwards). Following that, the original theme returns before a more serene and reflective slower section. Then our build towards the finale see's fragments of the melody developed through samba, disco then a driving club anthems. This all builds to a recapitulation of the opening Children's Band theme that takes the performer and
listener to our grand finale close.
This piece is dedicated to the memory of my dear friend Philip Biggs, who was the Administrator of the National Children's Band of Great Britain.
Categories: NEW & RECENT Publications, LIGHT CONCERT MUSIC Composer: Philip Harper
Included as part of Cory Band’s Dr Who programmes of 2023, this piece is an exciting finale which taps into the spirit of Dr Who and the Daleks, whilst quoting from diabolical music from Liszt and Holst.
Categories: LIGHT CONCERT MUSIC, NEW & RECENT Publications Composer: Philip Harper
Included as part of Cory Band’s Dr Who programmes of 2023, this piece is an exciting finale which taps into the spirit of Dr Who and the Daleks, whilst quoting from diabolical music from Liszt and Holst.
Categories: TEST PIECES (Major Works), LIGHT CONCERT MUSIC Composer: Johan de Meij
Metamorphoses on a Theme by Tchaikovsky. Duration 15.55
You can listen to an extract of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will reveal the audio extract(s) for you to sample.
If you enjoyed listening to this extract, you can buy the full recording of this work on the CD section of our site. If you want to perform this work with your band, you can of course purchase the score and parts here right now, by clicking on "BUY NOW". The CD is "NOW THAT'S WHAT I CALL BRASS Volume 3 2004 - 2005"
Extreme Make-over consists of a number of musical metamorphoses on a theme from Peter Ilyich Tchaikovsky’s well-known Andante cantabile (the second movement of his String Quartet No. 1 in D, Op. 11, written in 1871). “Never in my life have I felt so flattered, never have I been so proud of my creative powers as when Lev Tolstoy sat in the chair next to mine listening to my Andante, and the tears ran down his cheeks,” wrote the composer in the winter of 1876 on the occasion of a special concert organised for Tolstoy at the Moscow Conservatory. In 1888 Tchaikovsky arranged this movement for cello and orchestra.
The main theme of the Andante cantabile is based on a Russian folksong. In Extreme Make-over this theme is introduced in its original form by a brass quartet consisting of two comets, alto horn and euphonium. At the theme’s reprise, muted comets sneak, almost inaudibly, alongside the four soloists and elongate each note of the melody, as though the sustaining pedal on a piano has been depressed. The first metamorphosis emanates from a single tone, to which the two successive tones from the theme are added in bell-like chords. The addition of the lower second results in a completely new sound world, completing the first metamorphosis.
Anticipating the canonic theme from the finale, a timpani solo forms the transition to the Alla marcia. This movement is composed in a robust neo-classical style and is peppered with quotes, including fragments from Tchaikovsky’s Fourth and Sixth Symphonies and the Fantasy-Overture Romeo and Juliet. The following movement features a rather unconventional instrumental group: ten tuned bottles, played by members of the cornet section. This group eventually provides the accompaniment for an extensive marimba solo, gradually producing a sort of gamelan effect. In composing for the tuned bottles I have applied the ‘hoketus’ technique: each player produces a single note of the melody or the chord. This fragile movement is joined seamlessly to the finale, a canonic treatment of the theme. Hurtling through each instrumental group, it leads us to a festive conclusion.
Performance suggestions * The opening movement can be performed without conductor, emphasizing the chamber music aspect of the piece and allowing the four soloists to exhibit their ensemble skills. The conductor can then take over at either measure 33 or measure 51 (Poco piii animato). * The preparation and playing of the tuned bottles requires some explanation. Fill the bottles almost to the brim with water and then tune them accurately to the following concert pitches: D, E, G#, A and B over two octaves (in the score these notes are transposed for the B-flat and E-flat instruments). Adding or removing even a few drops can make a considerable difference in the pitch.
The precise shape or size of bottle does not matter much, provided the neck of the bottle is not too wide to comfortably produce a sound. Use a cork or a screw top to prevent evaporation (and thus affect the pitch) and take a spare prepared bottle on stage in case of accidental spillage. You never know! The method of producing a sound on the bottles is comparable to a flute or pan flute embouchure. A certain amount of practice is required to be able to produce a full, pleasant sound. Overbiowing will result in unwanted overtones. Once the player has established the optimum angle of his embouchure, his sound will resemble a somewhat breathy flute tone. A large dynamic range is possible. This will all take some getting used to and is usually accompanied by general mirth and the customary raucous jokes. But once the players have mastered the technique and the balance, the result is extraordinary: an entirely new sound emerges from the ensemble. The composer hereby also affords the players a legitimate excuse to empty as many bottles as they see fit, before or after rehearsals. Cheers!
Johan de Meij Amsterdam, September 2004
NB. An extra synthesizer part is added to the set, to be used only as a substitute for the bottle section, or as a rehearsal aid. JdM
Categories: SUMMER 2020 SALE TITLES, LIGHT CONCERT MUSIC Composer: Michael Golding
Normally £34.95 - only £29.95 in our SALE.
Fabric in Brass was commissioned by National Australia Brass for the Federation of Australasian Brass Bands and its Chairman Rick Casagrande, to celebrate the Federation's 1st Anniversary and its quest to nurture the unity of the Australasian Brass Band movement.
The title of the piece is derived from the initials of the Federation of Australian Brass Bands and the name of its chairman Rick Casegrande; the word 'Fabric' also representative of a structured whole, bound together by many interwoven threads.
The piece begins with a majestic fanfare, followed by the entry of a lively theme, which is then passed around the various sections of the band. A lyrical central section features Solo Horn and Euphonium, and builds to a moving climax, before the recapitulation of the main theme leads to a rousing finale!
The first performance was given by National Australia Brass directed by Professor David King, on the 24th October 2009, in Twin Towns, Gold Coast, Australia.
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