Music: Blue and The Beauty of Blue

Blue
Thomas Gansch - Mnozil Brass
Arranged for brass band by John Doyle
Marcato Brass Publishing

Lovers of the madcap music from Mnozil Brass, may be interested in the latest arrangement from Marcato Brass Publishing, Blue by Thomas Gansch, arranged for brass band by John Doyle.

The arrangement begins very much in the Mnozil vein with a septet of soloists, three trumpets (or cornets), tenor horn, two trombones and Bb bass. Full band joins and supports the concertino in a purely accompanying capacity from around the middle of the arrangement, enabling the soloists to ‘strut their stuff.’

Ensemble parts are well scored, and will present no problems for Section 3 bands and above. Percussion is minimal throughout and, apart from drum kit, largely optional. The concertino parts are virtuosic in places, particularly the lead trumpet line and there are also some ‘lofty’ trombone notes, but inventive performers or conductors will be able to manage these bars and should not be put off having a go at the arrangement! An interesting alternative to that slow item on any concert programme.

Both pieces are exclusively available to buy through Marcato Brass Publishing at www.marcatobrass.com and recordings of both pieces can be found on Leyland Band's CD, Leyland in Concert Volume 2 - Blue.

The Beauty of Blue
Flugel horn solo with brass band
Composed by John Doyle
Marcato Brass Publishing

The Beauty of Blue is a second new release from Marcato Brass Publishing and John Doyle, this time an original composition for solo flugel horn and brass band.

The work takes inspiration from the evocative vistas of the East Irish coastline and the gentle lilt of a Celtic lament is evident from the outset. The solo line, as you would expect from an experienced instrumentalist, is beautifully written. The full range of the instrument is explored, yet supported with thoughtful musical ideas and a distinct sense of phrasing.

The ensemble parts are again well written and approachable for any band. Percussion features heavily within the textures that John has used, and include marimba, vibraphone, rain-stick and a wide range of additional percussion. The arrangement will work with limited percussionists and some forethought, but at several points only percussion accompanies the flugel horn, so the soloist will need to keep their nerve against the sparseness! Vocal parts add an interesting dynamic to the arrangement and I’m sure will add light relief to any rehearsal. If Irish Blessing is a favourite in your band room, you won’t be disappointed with this as an effective alternative.

DAN PRICE - COMPOSER

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