The Brass Series

Fast and furious with all the excitement expected in a finale. Good luck! Arranged by Tom Whitehurst and suitable for colleges, conservatories, professionals, amateurs and community performing groups.

Fast and furious with all the excitement expected in a finale. Good luck! Arranged by Tom Whitehurst and suitable for colleges, conservatories, professionals, amateurs and community performing groups.

Arranged by Tom Whitehurst, this is a joyful and descriptive solo for Tuba, as it tries to emulate the movement of an elephant. For secondary schools, colleges, professionals, amateurs and community performing groups.

Arranged by Tom Whitehurst, this is a joyful and descriptive solo for Tuba, as it tries to emulate the movement of an elephant. For secondary schools, colleges, professionals, amateurs and community performing groups.

The Swan is the most famous movement from The Carnival of the Animals, usually represented by the 'cello which emulates the swan elegantly gliding over the water with only its reflection for company. In this arrangement for brass quintet it is the trombone with its lush tenor sound, that should be played in the style of Tommy Dorsey, that gives the swan its grace. The other instruments accompany the trombone with rolling chords which represent the feet of the swan hidden beneath the water propelling it along. This powerful melody will leave your hair standing up and a tear in your eye.

The Swan is the most famous movement from The Carnival of the Animals, usually represented by the 'cello which emulates the swan elegantly gliding over the water with only its reflection for company. In this arrangement for brass quintet it is the trombone with its lush tenor sound, that should be played in the style of Tommy Dorsey, that gives the swan its grace. The other instruments accompany the trombone with rolling chords which represent the feet of the swan hidden beneath the water propelling it along. This powerful melody will leave your hair standing up and a tear in your eye.

This arrangement by Gary Hunter of Schubert's Adieu portrays the song in a different colour. Written for brass quintet, the song remains lyrical and easy on the ear, and is ideal for church settings and general concert performances.

This arrangement by Gary Hunter of Schubert's Adieu portrays the song in a different colour. Written for brass quintet, the song remains lyrical and easy on the ear, and is ideal for church settings and general concert performances.

This piece won the 1995 Gregynog Composers Award at the Gregynog Music Festival, Wales. It was inspired by Miles Davis's version of George Gershwin's Prayer from Porgy and Bess.

This piece won the 1995 Gregynog Composers Award at the Gregynog Music Festival, Wales. It was inspired by Miles Davis's version of George Gershwin's Prayer from Porgy and Bess.

This attractive brass quintet based on the traditional sea shanty What Shall We Do With The Drunken Sailor opens with a fanfare followed by a main theme, first on trumpets and then on the horn. A series of linked variations follow, with the tune passed between the instruments in constantly changing tempos and styles. A strong rhythmic accompaniment keeps the sea shanty mood and the piece finishes with a showy flourish. Arranged by Eileen Clews, this light hearted work gives each player the chance to show off their instrument, so making it an ideal concert piece or a study piece for brass workshops.

This attractive brass quintet based on the traditional sea shanty What Shall We Do With The Drunken Sailor opens with a fanfare followed by a main theme, first on trumpets and then on the horn. A series of linked variations follow, with the tune passed between the instruments in constantly changing tempos and styles. A strong rhythmic accompaniment keeps the sea shanty mood and the piece finishes with a showy flourish. Arranged by Eileen Clews, this light hearted work gives each player the chance to show off their instrument, so making it an ideal concert piece or a study piece for brass workshops.

Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.

Arranged by Robin Benton, all brass players and their audiences should enjoy this rousing well known March from Verdi's 1871 grand opera Aida. The Egyptian army has returned from its victory over the Ethiopians and the melodies are suitably triumphant in style. The first melody ends with trumpet fanfares leading to the well known second melody which is repeated in a higher key. The opening theme returns and the March ends with a rousing coda.

This arrangement by Robin Benton uses just two of the numerous themes from Richard Wagner's overture to his 1868 opera The Mastersingers of Nuremberg. The opening theme represents the Mastersingers themselves. This dignified melody is stated and then developed contrapuntally, leading to the second theme - this theme is used in the opera for the entry of the Mastersingers. The music builds to a climax that introduces a short reprise of the majestic Mastersingers theme, and triumphant fanfares bring the piece to a rousing finish.

This arrangement by Robin Benton uses just two of the numerous themes from Richard Wagner's overture to his 1868 opera The Mastersingers of Nuremberg. The opening theme represents the Mastersingers themselves. This dignified melody is stated and then developed contrapuntally, leading to the second theme - this theme is used in the opera for the entry of the Mastersingers. The music builds to a climax that introduces a short reprise of the majestic Mastersingers theme, and triumphant fanfares bring the piece to a rousing finish.