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.
A toe tapping concert item with choreography to add a visual dimension by Dan Price.
Commissioned in 2013 by the National Children’s Band of Great Britain for their 10th Anniversary, Blue Thunder takes inspiration from the fast and noisy world of steam locomotives. The Mallard 4468 is a LNER Pacific steam locomotive and was famous for setting the world land speed record (126mph). Blue Thunder (a reference to the train's colour and lightning speed) also marks the 75th anniversary of this world record. The music imitates the sounds and excitement of a steam train on its journey with some added choreography which adds to the excitement.
Duration: 04:45
Grade 3.5
Commissioned by Dr Nicholas Childs and the National Youth Band of Great Britain for the National Children's Band of Great Britain 10th Anniversary in 2013.
With funds provided by the Arts Council of England.
The Mallard 4468 is an LNER Pacific steam locomotive. The train is famous for holding the world speed record, for a steam locomotive, of 126mph (actual 125.88). The feat was recorded on the Stoke Bank stretch of line, just north of Grantham, on 3rd July 1938.
Blue Thunder was composed in Z013 to mark the 75*“ anniversary of this record and the 10th. anniversary of the National Childrenfis Band of Great Britain. The title is a reference to the noise and excitement that this famous blue train would have generated
on its epic achievement.
The music opens slowly with the train pulling out of the station, the tempo gradually increases and we hear the whistle blow as it gathers momentum. The fast paced and busy opening theme (letter B) evokes images of the train pulling its load out of the city on the ever changing inclines of its line.
At letter H the music becomes gentler as the train glides to and fro through the countryside. The thematic material for this section derives from the Mallards engine number 4468, with the opening bars of the theme comprising of a Major 4th., Major 4th., Major 6th. and an octave or 8th. (baritones and euphoniums).
We see a reprise of both themes as the train continues along it journey but finally we arrive at Stoke Bank (letter O) with percussion driving the band onwards. The band should generate as much excitement as possible at this point without speeding up! As the piece closes, three further Whistle blows are heard from the band, the final being cut off as the Mallard disappears through the entrance of Stoke Tunnel.
At the opening of the work all performers are encouraged to chant the phrase "chi~ca-ch” to help percussion imitate the sound of the train starting its journey.
Choreography marks have been included in the score to add a visual experience for your audience. The inclusion of movement is left to the discretion of the MD and band. If you do use these markings; the bounce or bob head up and down. ~ is to evoke the trundle of the train, lean. left or right ~ to signify the sweeping curves of the train line, stand and sit ~ the train passing over points. Have fun.
Category: LIGHT CONCERT MUSIC Composer: Darrol Barry
Level of Difficulty : 4th. Section upwards. Duration 3.50
Traditional marches are great, but sometimes you want something different to kick off your concert. This piece gives your band a chance to get into the "swing" of things. Based on traditional 12 bar blues form, it features a contrasting middle section with a trombone trio and a flugel (cornet) obligato.
Categories: LIGHT CONCERT MUSIC, Howard Snell Music Composer: Maurice Ravel Arranger: Howard Snell
Click on "MORE DETAILS" to view the Solo Cornet part and to listen to an audio extract of the work.
Great musical imagery, superbly scored for brass band by Howard - just the piece you need in your programme after the "fast opener" ( or "finisher" ), starts slow and softly, but builds very gradually to a very impressive huge climax. duration 5.25 (with a little adaptation;it can be played by any grade of instruments)
Howard Snell writes : 'A piece for orchestra without music' was one way that Ravel described his Bolero, one of his last compositions before illness finally subdued him. 'Simply a seventeen minute crescendo for orchestra' was another version of his opinion, although this reduced arrangement is closer to 7 minutes due to the lesser forces available to a brass band. Whatever his own thoughts on the matter, the Bolero remains one of the most recognisable and enjoyable of musical masterpieces.
To view 
