Princip to Poppies
Bach in Barbados
In this digital version there is a gap in the middle, as Sibelius doen’t recognise a wind machine. Then there is real space, silence, but we know what’s coming…There are two other versions of this work, see above. One is for orchestral brass section, plus timps and 2 percs. The other is a version friendlier to the players, an extended orchestral brass section + percs. This adds an extra trumpet, an extra horn and a euphonium to the ensemble. This helps.
The Long and the Short
Return of the Polar Express
6/8, The Sequel
Above the Clouds
On the Band-Stand
Riffem and Blues
Expanding forces further, to 12 trombones, this piece has made it to performance, by the students of Trinity College, the Royal College, and the trombones of RAF Northolt so far. I’d had the riff for ages and knew roughly what I was going to do with it. The piece starts with a musical “Hello” on mixed mutes, then the riff starts in the distance and builds up around it, then it skips a beat and falls into a big blues, in the manner of Dave Brubeck’s Blue Rondo a la Turk. The riff returns and fades, finally ending with the opening reversed, now as a musical “Goodbye”. There’s a piece for brass band called Jamie’s Patrol, about an American Civil War band, which starts with the bugles and drums over the hill, approaching until the full cavalry sweeps past, then strides off into the distance again. Very atmospheric, and obviously an influence on Riffem and Blues. It is published by Roger Harvey at Brass Works.
It would help to describe this piece if I gave one of (!) its original titles, which was Fanfare, Theme, Ghosts and Hoedown. This is a melange of a piece, in those implied moods, written as a thankyou to Duncan Wilson and Kidlington Concert Brass for performing Sketches of Shetland, which I must say they did brilliantly. When I couldn’t settle on a title for the melange, I wondered if, when KCB played it, we should have a sort of raffle, where members of the audience could suggest a title, based on what they’d just heard. It was quite an up-and-down summer that year.
Written for a performance at an International Trombone Federation bash in 2006, for Katy Price and Christian Jones, shortly before they got married. Based on their initials, and the imminent wedding, the theme takes its cue from the song about Casey Jones, the American pioneer.