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Jelly Roll Rag

Jelly Roll Rag

Rockin' Reeds : feature for Alto and Tenor Saxophones with opt. Percussion

The history of rock and roll can be traced back as far as the musical influence of the first African slaves to arrive in North America, but the term was not used until 1951, when Cleveland disc jockey Alan Freed coined the namefrom the song "My Baby Rocks Me with a Steady Roll" and launched a radio programme called Moondog Rock'n'Roll Party. The style borrows heavily from rhythm and blues and early rocks stars such as Ike Turner, Bill Haley,Chuck Berry, Buddy Holly and Elvis Presley had a huge influence through the newly-invented juke box and liberated the youth of the day by giving them a music of their own. Rockin’ Reeds gives your woodwind ensemble thechance to revisit the rock and roll years by featuring the sax section.

Rockin' Trumpets : Trumpet feature with optional Percussion

The history of rock and roll can be traced back as far as the musical influence of the first African slaves to arrive in North America, but the term was not used until 1951, when Cleveland disc jockey Alan Freed coined the namefrom the song "My Baby Rocks Me with a Steady Roll" and launched a radio programme called Moondog Rock'n'Roll Party. The style borrows heavily from rhythm and blues and early rocks stars such as Ike Turner, Bill Haley,Chuck Berry, Buddy Holly and Elvis Presley had a huge influence through the newly-invented juke box and liberated the youth of the day by giving them a music of their own. Rockin’ Trumpets gives your brass ensemble thechance to revisit the rock and roll years by featuring the trumpet section.

Pulcinella : for Euphonium and Concert Band

Pulcinella was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teaches euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Lin gave the premiere of Pulcinella in both its concert band and brass band versions in January 2021. Pulcinella continues Sparke’s series of euphonium solos named after characters of the Italian commedia dell’arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the full band and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The band then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The band then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close.

Pulcinella : for Euphonium and Concert Band

Pulcinella was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teaches euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Lin gave the premiere of Pulcinella in both its concert band and brass band versions in January 2021. Pulcinella continues Sparke’s series of euphonium solos named after characters of the Italian commedia dell’arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the full band and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The band then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The band then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close.

Euphonium Concerto No 2 : for Steven Mead

The original concept for this work was a suite of short movements, each with its own character, but by the time the first movement was complete it was clear that a conventional three-movement format was going to work out better. The opening movement contains much syncopation and is almost rag-like in style. The slower second movement explores the unsurpassable ability of the euphonium to play lyrically, with a theme that is later taken up by the band whilst the soloist weaves a filigree descant. This leads straight into the third movement, which is almost bebop in style and shows off the jazzier capabilities of the euphonium. The concerto was composed for the virtuoso soloist,Steven Mead. This version for euphonium and piano is sure to become a concert classic.

Guardians of the Waves

Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.

Guardians of the Waves

Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.

March of the Robot Army

March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held inCamposilvano in 2019) which has a different theme every year. The theme for 2019 was ‘science fiction’, so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromaticfigures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change ofkey introduces a legato ‘trio’ melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting thefirst two themes in new guises before finishing the march with a flourish.

March of the Robot Army

March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held inCamposilvano in 2019) which has a different theme every year. The theme for 2019 was ‘science fiction’, so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromaticfigures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change ofkey introduces a legato ‘trio’ melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting thefirst two themes in new guises before finishing the march with a flourish.

Elegy: Echoes of Lives Past

Elegy: Echoes of Lives Past is one of a pair of pieces which were commissioned by Koninklijke Fanfare Kempenbloei Achel - Ivan Meylemans, conductor - as part of their programme for the 2022 World Music Contest, held in Kerkrade, The Netherlands. The orchestra emerged victorious winners of the „Fanfare Concert Division“. It opens with a sombre chorale for saxophone quintet (optionally played offstage) which is interspersed with expressive solos from flugel horn and baritone. A short brass interlude leads to a second, more optimistic chorale for the full saxophone section, accompanied by arpeggios. This is taken up by the brass, underneath florid sax figurations, until a dramatic climax is reached, which is interrupted by an abrupt change of mood recalling the opening flugel horn and baritone solos. Two possible endings are provided, depending on whether or not the opening sax quintet was played offstage. This piece can be programmed to be played immediately after its partner piece, Not Before Time (AMP 505-020), which shares the same chorale material.

Elegy: Echoes of Lives Past

Elegy: Echoes of Lives Past is one of a pair of pieces which were commissioned by Koninklijke Fanfare Kempenbloei Achel - Ivan Meylemans, conductor - as part of their programme for the 2022 World Music Contest, held in Kerkrade, The Netherlands. The orchestra emerged victorious winners of the „Fanfare Concert Division“. It opens with a sombre chorale for saxophone quintet (optionally played offstage) which is interspersed with expressive solos from flugel horn and baritone. A short brass interlude leads to a second, more optimistic chorale for the full saxophone section, accompanied by arpeggios. This is taken up by the brass, underneath florid sax figurations, until a dramatic climax is reached, which is interrupted by an abrupt change of mood recalling the opening flugel horn and baritone solos. Two possible endings are provided, depending on whether or not the opening sax quintet was played offstage. This piece can be programmed to be played immediately after its partner piece, Not Before Time (AMP 505-020), which shares the same chorale material.

Not Before Time

Not Before Time is one of a pair of pieces which were commissioned by Koninklijke Fanfare Kempenbloei Achel - Ivan Meylemans, conductor - as part of their programme for the 2022 World Music Contest, held in Kerkrade, The Netherlands. The orchestra emerged victorious winners of the „Fanfare Concert Division“. The piece is a cousin of the composer’s Music of the Spheres (which opens ‘before time’ when t=0) and begins with chaotic scales and dense chord clusters reminiscent of the earlier work. After a rhythmic, multi-metric passage, a ‘diabolic’ 7/8 tune appears in the saxes, which is taken up by the full orchestra. The texture suddenly dissipates to introduce a series of building flugel horn clusters under a rapid sax ostinato. Interruptions by the lower brass build into new material which leads to a minor-key chorale with florid sax decorations. Opening passages are then reintroduced until the chorale reappears with the full orchestra, leading to a triumphal coda. This piece can be programmed to be played immediately before its partner piece, Elegy: Echoes of Lives Past (AMP 506-020), which shares the same chorale material.

Not Before Time

Not Before Time is one of a pair of pieces which were commissioned by Koninklijke Fanfare Kempenbloei Achel - Ivan Meylemans, conductor - as part of their programme for the 2022 World Music Contest, held in Kerkrade, The Netherlands. The orchestra emerged victorious winners of the „Fanfare Concert Division“. The piece is a cousin of the composer’s Music of the Spheres (which opens ‘before time’ when t=0) and begins with chaotic scales and dense chord clusters reminiscent of the earlier work. After a rhythmic, multi-metric passage, a ‘diabolic’ 7/8 tune appears in the saxes, which is taken up by the full orchestra. The texture suddenly dissipates to introduce a series of building flugel horn clusters under a rapid sax ostinato. Interruptions by the lower brass build into new material which leads to a minor-key chorale with florid sax decorations. Opening passages are then reintroduced until the chorale reappears with the full orchestra, leading to a triumphal coda. This piece can be programmed to be played immediately before its partner piece, Elegy: Echoes of Lives Past (AMP 506-020), which shares the same chorale material.