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.
Category: LIGHT CONCERT MUSIC Composer / arranger: Alan Fernie
Concert piece based on Gaudeamus Igitur - duration 3.55
Recorded on the CD BRASS NIGHT - The Music of Alan Fernie with The Fodens Courtois Band, conductors Nicholas Childs and Alan Fernie - Obrasso CD866 - available for purchase on this site.
Category: LIGHT CONCERT MUSIC Composer: Dean Jones
Click on"MORE DETAILS" to view the Solo Cornet part.
The central section of this work features the melodies "Joyful, Joyful" from Beethoven's 9th. Symphony and "Praise My Soul" arranged in a medium rock style.
Categories: LIGHT CONCERT MUSIC, Music of BRUCE FRASER Composer / arranger: Bruce Fraser
Playable by fourth section bands upwards
A nine movement suite wich introduces each section of the band in turn.
Starting with full BB, then The Horns, The Baritones, The Cornets, The Euphoniums, The Percussionists, The Trombones, The Basses, and finishing with full Brass Band.
Category: LIGHT CONCERT MUSIC Composer / arranger: Torstein Aaagard Nilsen
Grade 3 - should be playable by 4th. Section band upwards.
Duration: 04:30
Torstein Aagaard-Nilsen’s (1964) way of composing can be described as: uncompromising, wilful and contemporary. It is not surprising, therefore, that this occasionally causes a stir.
In the middle of the Seventies a trend arose in youth culture, which was characterized by provocation, distrust of the great ideologies, and the autonomy of the individual. Punk is playful, aggressive, often humorous, and anti-everything, which inevitably leads to self-irony.
The first part of Aagaard-Nielsen’s composition (Introduction) is a texture based mainly on one short theme.
This pompous theme breathes a spirit of cold empty plains, where icy winds sigh around your head.
In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies.
Category: LIGHT CONCERT MUSIC Composer: Torstein Aagaard-Nilsen
Duration: 04:30
Torstein Aagaard-Nilsen’s (1964) way of composing can be described as: uncompromising, wilful and contemporary. It is not surprising, therefore, that this occasionally causes a stir.
In the middle of the Seventies a trend arose in youth culture, which was characterized by provocation, distrust of the great ideologies, and the autonomy of the individual. Punk is playful, aggressive, often humorous, and anti-everything, which inevitably leads to self-irony.
The first part of Aagaard-Nielsen’s composition (Introduction) is a texture based mainly on one short theme.
This pompous theme breathes a spirit of cold empty plains, where icy winds sigh around your head.
In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies.
Category: LIGHT CONCERT MUSIC Composer: William Walton
Duration: 0:35
Even before Sir Robert Mayer’s centenary concert in 1979 Christopher Morris of OUP wrote to Walton on 3 April 1979 suggesting that he recast the Salute for Sir Robert Mayer fanfare for three trumpets and three trombones, with a view to publication and further performances. Walton sent back his rearrangement (lightly revised) with the proofs of the Salute, and the score was published under its new title on 5 June 1980. In 1988 it was included as an introduction to the first publication of Walton’s 1953 arrangement of the national anthem. An anonymous editorial note suggests that when the pieces are played together Walton’s introductory bar to the anthem should be omitted, following the roll on the snare drums.
Category: LIGHT CONCERT MUSIC Composer / arranger: Marc van Delft
In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends), after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.
At first, 'Invocation' radiates a sense of serene calme, from which the composer gradually creates an atmosphere resembling a conversation.
Half-way there is an increase of suspense, ending once again in calm.
The listener remains uncertain, however, regarding the finish
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