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Category: LIGHT CONCERT MUSIC Composer / arranger: Trad. arr. M. Freeh
Just a great arrangement of this well known tune. Starts very laid back & calm, before exploding into a riot of free wheeling dixie style counterpoint for a combo of players before the whole band become involved in this great finisher for your concert.
If you want your audiences to leave happy singing and tapping their feet - this is the one to finish with. Great opportunities for creative choreography.
Brass Band Grade 4
Duration: 5 minutes.
When the Saints, arranged by Mark Freeh, is available on the CD 'Freeh-Way' by The GUS Band, conducted by Bramwell Tovey.
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):
Category: LIGHT CONCERT MUSIC Composer: Paul Lovatt-Cooper
When Thunder Calls has been composed and designed to make it a very effective way of starting a concert or a second half of a concert and when performed with all the choreography, this piece makes for an exciting addition to any concert repertoire.
Circa 3'58"
Click on MORE DETAILS to view the Solo Cornet part.
Section: 3+
‘When Thunder Calls’ was commissioned by Dr Nicholas Childs and the Black Dyke Band for their performance at the Gala Concert of the Swiss Open Championships in September 2011. When composing this piece, I decided to focus on both the music and the stage presentation. The way the piece has been composed and designed makes it a very effective way of starting a concert or a second half of a concert.
At the start of the piece, the percussion enter the stage and take their positions in their usual place behind the band. They begin playing the piece without a conductor. They keep repeating the opening section while the Basses, Horns, Baritones and Euphoniums march onto the stage.
This group of musicians take their seats with the Horns, Baritones and Euphoniums sitting where they usually sit in the band but the Basses sit where the solo cornets usually sit, forming an inner semi-circle of lower brass. When seated and when the music gets to the end of bar 4 the piece continues onto section A. All performers keep repeating this next 4-bar phrase until the trombones march onto stage and stand at the front of the stage with the Bass Trombone standing in between the other two trombones.
All performers then play from figure B to C with the trombones taking the lead at the front. When the performers get to rehearsal figure C they repeat this section (the same as section A) while the trombones move from the front of the stage and take their positions where the Basses would normally sit (between the horns and the percussion) and remain standing. Meanwhile, the flugel enters the stage and stands at the front of the stage (standing where the trombones did). When in position the flugel soloist picks up into rehearsal figure D.
When the flugel soloist finishes playing, just before rehearsal figure F they then move to their normal seat in the band. At figure F the cornets march onto the stage from either side, they turn and stand side by side each other facing outward towards the audience forming two ‘fanfare’ lines either side of the lower brass. The conductor follows the cornets on stage and on cue they lift their instruments at the same time and perform when the piece gets to figure G.
There is no more moving around from this point on other than the solo cornet to move forward with the solo euphonium and perform their duet at letter H. Also the horns are required to stand and play at letter I and then sit just before J.
When performed with all the choreography, this piece makes for an exciting addition to any concert repertoire both for the performer and the audience.
Category: LIGHT CONCERT MUSIC Composer: Paul Lovatt-Cooper
When Thunder Calls has been composed and designed to make it a very effective way of starting a concert or a second half of a concert and when performed with all the choreography, this piece makes for an exciting addition to any concert repertoire.
Circa 3'58"
Section: 3+
‘When Thunder Calls’ was commissioned by Dr Nicholas Childs and the Black Dyke Band for their performance at the Gala Concert of the Swiss Open Championships in September 2011. When composing this piece, I decided to focus on both the music and the stage presentation. The way the piece has been composed and designed makes it a very effective way of starting a concert or a second half of a concert.
At the start of the piece, the percussion enter the stage and take their positions in their usual place behind the band. They begin playing the piece without a conductor. They keep repeating the opening section while the Basses, Horns, Baritones and Euphoniums march onto the stage.
This group of musicians take their seats with the Horns, Baritones and Euphoniums sitting where they usually sit in the band but the Basses sit where the solo cornets usually sit, forming an inner semi-circle of lower brass. When seated and when the music gets to the end of bar 4 the piece continues onto section A. All performers keep repeating this next 4-bar phrase until the trombones march onto stage and stand at the front of the stage with the Bass Trombone standing in between the other two trombones.
All performers then play from figure B to C with the trombones taking the lead at the front. When the performers get to rehearsal figure C they repeat this section (the same as section A) while the trombones move from the front of the stage and take their positions where the Basses would normally sit (between the horns and the percussion) and remain standing. Meanwhile, the flugel enters the stage and stands at the front of the stage (standing where the trombones did). When in position the flugel soloist picks up into rehearsal figure D.
When the flugel soloist finishes playing, just before rehearsal figure F they then move to their normal seat in the band. At figure F the cornets march onto the stage from either side, they turn and stand side by side each other facing outward towards the audience forming two ‘fanfare’ lines either side of the lower brass. The conductor follows the cornets on stage and on cue they lift their instruments at the same time and perform when the piece gets to figure G.
There is no more moving around from this point on other than the solo cornet to move forward with the solo euphonium and perform their duet at letter H. Also the horns are required to stand and play at letter I and then sit just before J.
When performed with all the choreography, this piece makes for an exciting addition to any concert repertoire both for the performer and the audience.
Category: LIGHT CONCERT MUSIC Composer / arranger: James Curnow
Click on MORE DETAILS to listen to an audio extract of this work.
Commissioned in memory of Peter Swanson a trumpet & Cornet player who died tragically at the age of 14. Based on the gospel song "Just a Closer Walk With Thee" - Concert item 7.00
On April 6, 1998, Peter J. Swanson suddenly and quietly slipped into eternity. We remember him especially for his love of music, a gift from his older brothers, Nathan and Stephen. Worthingway and Thomas Worthington Schools in Worthington, Ohio, nurtured this gift until, as a concertmaster and solo cornet in the All Star Brass Band of Columbus, Peter reached his highest potential in performance and leadership.
What Pete liked best about music was its ability to draw people together. When he was not rehearsing his brass quintet or practicing for the next drama production, he was rounding up a gang of guys for sandlot rugby or simply getting up a game of euchre in the hallway. Woodwinds may remember Pete’s merciless teasing, and more than one teacher wished he would pay as much attention to his academics as he lavished on his trumpet. But everyone who knew Pete remembers him for his whimsical sense of humor, his joy at working together, and his faith in God. Peter’s family felt that this commissioned work should express thanks to his Creator for loaning us this talented, wacky fellow for over fourteen years. It certainly was tough to return this priceless loan on that Good Friday. But what a vivid reminder of how this Creator entered our dimension of time specifically to conquer death, and how he knew that this conquest would cost him his own life, and how he now calls each of us to enjoy a lasting relationship with him. This music recalls Pete’s commitment to such a rela tionship while he lived with us, and it celebrates the closer walk he presently enjoys.
Finally, this music looks forward to when ‘the trumpet shall sound”, and when time will be no more; to when death will meet its final defeat, and every tear will be wiped away, to when the natural order as we know it will give way to the new creation. Mark and La Verne Swanson, 1999
PROGRAM NOTE: This work was commissioned in memory of Peter J. Swanson, 1983-1998, Trumpet, Thomas Worthington Symphonic Band, Worthington, Ohio, Solo Cornet All Star Brass Band of Columbus; whose love of music reflected his whimsical sense of humor, his pride in his country, and the majesty of his God. The composer’s desire was to create a musical portrait of Peter’s personality that would also represent the personalities and lives of thousands of today’s youthful music-makers. His favorite gospel song, Just a Closer Walk with Thee, is manipulated (in motivic form) throughout the work to create new themes that are both energetic and reflective in character. The work is a set of motivic variations that take the listener from the opening distant trumpet call, through many divergent styles and moods. These contrasting variations are sometimes reflective, sometimes energetic, joyful and whimsical, but always in a spirit of praise and adoration. All of the energy culminates in a sudden powerful, yet thought provoking climax that refocuses the attention of the music, through the use of three brief musical quotations (euphonium) from the original gospel song. These quotations are presented to remind us of one of the greatest promises of all time:
When my feeble life is o’er, Time for me will be no more; Guide me gently, safely o’er To thy kingdom shore, to thy shore.
The music then returns to the composer’s original theme, presented in a soft reflective meditation, which gradually evolves into a climactic fanfare and celebration of praise.
Category: LIGHT CONCERT MUSIC Composer: Philip Sparke
duration 3.45 Grade 3
‘Whence is that Goodly Fragrance Flowing?’ is the first line of an old French Christmas song that originated in the 17th century. In 1728 John Gay used this joyous and markedly festive melody that honours Jesus Christ and His miraculous birth in his Beggar’s Opera. Philip Sparke has given this melody a new lease of life with his charming and imaginative arrangement for the Christmas season.
Category: LIGHT CONCERT MUSIC Composer: Paul Lovatt-Cooper
Click on "MORE DETAILS" to view an image of the Solo Cornet part.
This work was commissioned by Philip Biggs for the Great Northern Brass Arts Festival 2006 and was written for Black Dyke Band and first performed by them in Manchester's Bridgewater Hall on 2nd September 2006. Duration: c. 4' 15"
The inspiration for this piece came from a recent trip to Florida and to the Bird Sanctuary in Walt Disney World's Animal Kingdom. I was lucky enough to be in the audience to see the rare bird's show where I witnessed some fabulous looking and endangered birds that were trained to perform different tricks that wowed the audience. The highlight for me was the conclusion of the show where the most awesome sight greeted us as an American Bald Eagle soared over the audience. That particular breed of Eagle has been a very rare bird of late. With so few in numbers, it nearly became a member of the sad group of animals that are extinct. The host of the show took great delight in informing the audience that the fantastic creature is now officially safe and no longer classed as endangered. This made a great impact on me as the Eagle is an amazing bird, huge in size and power and yet so graceful in flight. When Philip Biggs invited me to write a piece for the Great Northern Brass Arts Festival, I had no doubt about my inspiration and wanted to create a piece that paid homage to the American Bald Eagle. This piece is everything associated with the Eagle; bold, powerful and graceful and now free to soar and sing in the American homelands.
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 recording is ESSENTIAL DYKE Vol.7, - CD is DOY CD227
Category: LIGHT CONCERT MUSIC Composer: Paul Mealor Arranger: Duncan Stubbs
Commissioned by Gareth Malone for Series Four of BBC TV's The CHOIR, and first performed by Malone and The Military Wives Choir as part of The Royal British Legion's Festival of Remembrance at the Royal Albert Hall, London on 12th. November 2011 in the presence of Her Majesty The Queen.
Click on MORE DETAILS to view the Solo Cornet Part.
Category: LIGHT CONCERT MUSIC Composer: Kenneth Hesketh
‘Whirlegigg’ is the middle English word for a contraption that continuously spins. A great fascination with many inventors of the medieval period was to develop a perpetual motion machine constantly turning and giving off energy. This idea is particularly apt for this piece. A simple ternary structure gives ample opportunity for both boisterous and reflective material with gyrating accompaniment figures never far away. The machine almost stops near the end, but finally musters one last burst of excitement and energy to bring the work to its close.
Brass Band Grade 5: 1st Section
Duration: 5 minutes.
Whirlegigg has been recorded by the Leyland Band, conducted by Jason Katsikaris, and is available on the CD Penlee, available to buy from this site by clicking here.
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):
Category: LIGHT CONCERT MUSIC Composer: Kenneth Hesketh
‘Whirlegigg’ is the middle English word for a contraption that continuously spins. A great fascination with many inventors of the medieval period was to develop a perpetual motion machine constantly turning and giving off energy. This idea is particularly apt for this piece. A simple ternary structure gives ample opportunity for both boisterous and reflective material with gyrating accompaniment figures never far away. The machine almost stops near the end, but finally musters one last burst of excitement and energy to bring the work to its close.
Brass Band Grade 5: 1st Section
Duration: 5 minutes.
Whirlegigg has been recorded by the Leyland Band, conducted by Jason Katsikaris, and is available on the CD Penlee, available to buy from this site by clicking here.
To view 
