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£104.99Praise to the Lord Wind Band Set (Score & Parts)
This composition, based on the hymn Praise to the Lord, is comprised of eight separate parts that can be played together as a concert piece or opening work. The A and B sections are different openings, C is four-part arrangement of the hymn, D is a solo for four saxophones, or two trumpets and two trombones, E is a calm intermezzo, F a solo for trumpet or cornet, and G and F finally are a majestic or peaceful closing section. How will you choose to present this piece on stage? 05:35
Estimated dispatch 7-14 working days
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£47.52
Prelude on a German Hymnsong (Concert Band - Score and Parts)
Alternatively sensitive and powerful, this setting will make bands of all ages and abilities shine! Based on a 17th-century German hymn melody, this powerful work by Matt Conaway is at home in both sacred and secular performances. Suitable for ceremonial use, this new hymn song setting is accessible and effective!
Estimated dispatch 7-14 working days
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£69.95
SWEDISH FOLK SONG (Concert Band) - Graham, Peter
Swedish Folk Song, has it's origins in an old Scandinavian melody first adapted by Stuart K. Hine in 1949 to his own sacred hymn, How Great Thou Art. From the quiet opening on the solo flute to the full orchestration of the final statement Graham balances us between echoes of the past and a vibrant present wherein we discover the beauty of the song or hymn, at various levels, once again.
Estimated dispatch 7-14 working days
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£118.99
The Battle of Varlar Wind Band Set (Score & Parts)
The work calls to mind an important event from the history of the city Coesfeld in Germany: the battle of Varlar, which took place in the year 1454. The composition presents us with a bird's eye view of the events: First of all, the consecration of the chapel on the Klinkenberg mountain is set to music in a hymn, after which the trumpets and trombones announce the imminent battle. In the subsequent fray not only the sounds of sabres and rapiers can clearly be heard but also the wailing of the wounded. When the Duke of Brunswick is wounded and captured by the troops of Walraf, Konrad von Diepen and his men march on Coesfeld in victory. Set against a festive melody, the hymn resounds in full glory. 07:00
Estimated dispatch 7-14 working days
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£84.99
There is a land of pure delight Wind Band Set (Score & Parts)
Isaac Watts (1674-1748) wrote the lyrics of "There is a land of pure delight" and is known as the "Father of English Hymnody". Watts was for the English hymn as Ambrose was for the medieval Latin hymn and what Martin Luther was for the German chorale. He wrote about 750 songs, and some of them survide the ravahes of time. (Joy To The World, When I survey the wondrous cross, I sing the Mighty Power of God) "There is a Land of Pure Delight" is usually in English-speaking areas sung on Luther Orlando Emerson's melody ('Ascription'). Here is used a traditional English melody ('Mendip'). There is a land of pure delight Where saints immortal Reign. Infinite day excludes the night, And pleasures banish pain .. 02:45
Estimated dispatch 7-14 working days
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£108.90
With Voice of Triumph Raised
Based on the well-loved hymn tune, "Madrid" ("Come, Christians, Join To Sing"), this creatively striking, rousing overture is perfectly suited to be a concert opener or closer. Energetic rhythms, effective orchestration, and warm harmonies make this piece a favorite of band members and concertgoers alike, while remaining practical for conductors to prepare, even with limited rehearsal time. Formally based on the structure of the hymn lyrics, this work features a vigorous opening section, followed by a lyrical repose that eventually transitions into an assertive, climactic crescendo to the finish. "With Voice of Triumph Raised" will be the highlight of your concert!
Estimated dispatch 7-14 working days
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£79.95Variations on 'Was Lebet' (Concert Band - Score and Parts) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£15.95Variations on 'Was Lebet' (Concert Band - Score only) - Wainwright, Andrew
Variations on 'Was Lebet' is based on the German chorale of the same name, the first line of which translates as 'O worship the Lord in the beauty of holiness!' The opening fanfare figure in the Trumpets should be supported by bold, organ-like sostenuto chords in the lower band. Ensure that the fanfare in the Trumpets and Trombones from bars 25 to 28 is given equal articulation and volume in the antiphonal parts. After this majestic introductory section, the first of five contrasting variations is presented, although the tune is never realised in full form until the final variation, with fragments gradually being revealed as the piece progresses.Variation I is somewhat classical in approach, with its energy coming from a regular contrast between cantabile references to the theme, set against lively staccato figures. Ensuring a lightness of touch will be important here; the music should be poised and never sound frantic. As a result, careful attention should be paid to the tempo marking, being no quicker than 136 beats per minute. Snippets of the chorale come and go, with the last phrase of the hymn completing the movement. This final statement, at bar 95, should be an immediate change in tempo and a separate statement to the music that comes before.Variation II is plaintive in mood, giving the listener the chance to reflect on the following words, which form part of the second verse: 'Comfort thy sorrows and answer thy prayerfulness, Guiding thy steps as may best for thee be.' There is opportunity for rubato in this movement, at the discretion of the conductor.Variation III is somewhat quirky and volatile in nature, and takes its inspiration from the 3rd and 4th verses which describe the fearful times in life that we must entrust to the Lord. Driven by the Percussion section in particular, there are references here to Variation I with its chorale-like figures and hurtling scalic figures, and there is a feeling of a lack of resolution. A somewhat abrupt ending suggests that our sense of completeness in Christ is yet to be resolved. It is important that clarity and tempo are maintained in the bass line between sections L and M. Aim for consistency of line in the bass parts, particularly with the trade-offs between players here.There is a French romantic feel to the waltz in Variation IV, with the opportunity for various soloists to display their musicianship. A sense of ironic humour pervades throughout. The Clarinet and Bassoon duet from section U should be playful and display a lightness of touch, with that sense of style continued throughout the movement.Variation V is fugal in nature, with each section of the band being handed the theme at various points. Again it is important that a steady tempo is set at Y in order to maintain control. The sense of momentum gradually increases to a grandiose presentation of the full theme, beginning at section CC, affirming our completeness in the Lord, with the words of the first and last verses reiterated: O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim; With gold of obedience and incense of lowliness, Kneel and adore him, the Lord is his name.Duration: 11.45
Estimated dispatch 7-14 working days
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£87.95St. Francis Variations (Concert Band - Score and Parts) - Wheeler, Alastair
Variations on St Francis is a set of four contrasting movements based on the sturdy 17th century hymn tune Lasst uns erfreuen, best known as St Francis after its composer with associated words "All creatures of our God and King". Although often notated in various metres, the tune's original unbarred freedom and Vaughan Williams' later 3/2 setting both inform this work's flexible approach to rhythm and stress.The piece is built from three ideas: the bold opening line of the tune, descending peals of Alleluia, and the answering response phrase.A grand March opens the work, with open-fifth fanfares and flowing Alleluia countermelodies. The Dance that follows shifts the response into a minor key, driven by syncopation and playful overlapping lines. A lyrical Cantabile / Intermezzo, led by cor anglais (or alto saxophone), offers contrast before a Rondo Scherzo reimagines the tune in a quirky modal style, featuring falling thirds and bright harmonic colour. A confident Coda brings the work to a close with chorale statements launched from the percussion section.Duration: 7.30
Estimated dispatch 7-14 working days
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£17.95St. Francis Variations (Concert Band - Score only) - Wheeler, Alastair
Variations on St Francis is a set of four contrasting movements based on the sturdy 17th century hymn tune Lasst uns erfreuen, best known as St Francis after its composer with associated words "All creatures of our God and King". Although often notated in various metres, the tune's original unbarred freedom and Vaughan Williams' later 3/2 setting both inform this work's flexible approach to rhythm and stress.The piece is built from three ideas: the bold opening line of the tune, descending peals of Alleluia, and the answering response phrase.A grand March opens the work, with open-fifth fanfares and flowing Alleluia countermelodies. The Dance that follows shifts the response into a minor key, driven by syncopation and playful overlapping lines. A lyrical Cantabile / Intermezzo, led by cor anglais (or alto saxophone), offers contrast before a Rondo Scherzo reimagines the tune in a quirky modal style, featuring falling thirds and bright harmonic colour. A confident Coda brings the work to a close with chorale statements launched from the percussion section.Duration: 7.30
Estimated dispatch 7-14 working days
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