Full Band Scores

To download the sheetmusic in PDF format, click on the notation icon. To listen to a MIDI file of the piece, click on the little guy playing the tuba.
.wav files are available upon request. Send an email to jamesmoule@yahoo.com.

Unless otherwise indicated, each piece is scored for the traditional English brass band of four solo cornets, two 2nds, two 3rds, rep, soprano, flugel, three Eb horns, two baritones, two euphos, three trombones, two Eb basses, two Bb basses and percussion.

We appreciate your comments on the compositions and arrangements.

"Aboard Ship" by Sergei Taneyev, arranged by James Moule
A turbulent voyage ends, apparently in finding a safe harbour. Transcribed from the Op 27 No.5 chorus and transposed to a comfortable key, this is a great concert / contest piece, well within the capabilities of a lower grade band with strong solo cornets. The ears of the audience will be ringing at the end of the performance.
Also available in quintet version on this site. Duration: 4 minutes


Ave Maria by Felix Mendelssohn, arranged by James Moule
This is a major concert item which is an ideal Sacred Item for contests.
There are three sections: the statement of the hymn tune, a faster contrapuntal section, and a reprise of the opening which gradually increases in strength, creating a wonderful climax. There are several solo / soli parts and sections in which the lower brass are pitted against upper brass in a conversation. All parts are comfortably pitched so this is suitable for lower grade bands. The players will have to learn to count.
Duration: 5'50"


Australian Christmas Carol: "Lo, on a clear and starry night" by James Moule
16th century hymn style with uneven meter and words in blank verse. Written for Boroondarah Brass, an A Grade band in Melbourne, Victoria. Also available in quintet version which contains score and parts plus melody with words plus words plus piano accompaniment plus SATB score. Easy. Duration: 1 min 45s


Ballinderry Rhapsody Trad. arranged by James Moule
Flugel (or other Bb instrument) solo with Band accompaniment. Also available with piano accompaniment (see "Solos"). Duration: 2'35".


Border to Border by Sergei Taneyev arranged by James Moule
This dramatic choral piece for double SATB choir translates well to brass orchestra. Comfortably pitched for lower grade bands, this is a fine concert piece.
Duration: 2'40".


British Grenadiers (revised version) Trad. arr. James Moule
Fairly straightforward concert arrangement, suitable for lower grade bands. This has been the most downloaded piece on this site but the arranger used a glitch-filled scoring program. This version is correctly set in cut common time and the cut-out that most people missed is now written in rests. Parts for the old version are available on request. There is a clip on YouTube by Waratah Brass Training Band at
but it should not be taken as a correct performance.
Duration: 1'50"s.


CANZONA by Annibale Padovano
This flexiset is in eight parts plus optional drums. This Aria della Battaglia was written to celebrate an Italian victory (so it is very old, c. 1560). It consists of two parts. Suitable in a concert to show how music has been used in wars through the ages. A roughly equal number of players should be put on each part so this suits 8, 16 or 24 players, plus drums.

Prima Parte
Hymn-like piece, interrupted by battle cries. Alternating duple and triple time sections.
Duration: 3 mins.


Secunda Parte
Aggessive, martial piece in which the instruments imitate the sounds of battle.
Duration: 3'35".


Carillon de Westminster by Louis Vierne, arranged by James Moule
The chimes of "Big Ben" are heard in the far distance on the horns. Then they are heard more clearly on the cornets.
The bells get closer and we eventually end up in the belfry, being deafened by their ringing.
This is a major concert work, requiring a full band and a soprano player with stamina. Comfortably pitched but a challenge for all.
Duration: 6'30".


Chorales (posthumous) by Cesar Franck, arr. James Moule
The three Chorales, written in 1890 and published posthumously in 1892, were among the last works of this master of harmony and counterpoint. They represent the best organ music of the 19th Century and translate well to brass orchestra. All three feature great depth and a wide range of human emotion, expressed through Franck's characteristic sliding chromaticism. These pieces are major concert / contest items, best suited to bands with mature musical tastes. This is very serious music but challenging only for "1st desk" players, mainly due to the number of accidentals.

Choral No.1
Beginning with a warm hymn-like theme, this piece alternates quiet ensemble sections with roaring tuttis, culminating in a tremendous climax.
Duration: 12'30".


Choral No.2
This morose and sombre passacaglia begins quietly with the theme in the basses. Each 16 bar section evokes a different mood - anger, despair, rage, grief and, finally, quiet acceptance or, perhaps, death.
Duration: 12 minutes.


Choral No.3
This piece is the most dramatic and popular of the three. It is the most profound music. Fast running sections are punctuated by roaring cumulative chords. The central adagio is particularly beautiful and could be played separately (see quintet and solo versions on this site). The chromaticism with lots of accidentals will test reading ability. Unlike any other band piece. A complete band, with or without percussion, is required. There are difficulties for the "first desk" players but no problems for lower ranks. Suitable as an Own Choice at contests.
Duration: 13 minutes.


Choral Song by SS Wesley, arranged by James Moule
Samuel Sebastian Wesley, son of composer Samuel Wesley, became a friend of Mendelssohn whose influence can be heard in this organ piece.
Comfortably pitched with plenty of doubling, this could be an acceptable contest sacred item.
Duration: 2'40".


COELITES PLAUDANT arranged by James Moule
Usually sung to the words "Christ, the fair glory of the angels....", this piece is suitable as a contest sacred item or as a Christmas concert anthem. The tune is from 17th century Rouen. Not difficult but challenging enough for lower grades.
Duration: 2 minutes.


CONCERT FANFARE by Mendelssohn, arranged by James Moule
This short fanfare is suitable for the opening of a concert. It comes from Mendlessohn's 2nd sonata for organ. Some high notes for 1st desk players but generally easy.
Duration: 1'35".


COLUMBIA, GEM OF THE OCEAN (a.k.a."Three Cheers for the Red, White and Blue") by Thomas A. Beckett, arr. James Moule
Rousing nationalistic clat-trap, originating from the days of the Amercian Civil War. Sung at Empire Day celebrations in the '50s in Australia for no good reason. Suitable for concerts and Donald Trump rallies. Available in march card size on request.
Total duration: about 2 minutes.


CONCERTO IN A MINOR RV 522 by Antonio Vivaldi, arr. James Moule
JS Bach thought enough of this double violin concerto to transcribe it for organ (BWV 593). That transcription is the basis of this arrangement. While parts are provided for a full band, trombones and Bb basses could by deleted to give the necessary lightness. There are no percussion parts. The piece sounds much more difficult than it is. Lower grade bands with sound "first desk" players should have no trouble. Suitable for concerts and contests. Total duration: about 12 minutes.

1st Movement - Allegro
Very dramatic, rollicking movement with loud tutti sections interspersed with concertante sections. Duration: 4 minutes.

  2nd Movement - Adagio
Adagio e molto dolce, this movement is scored for just nine players, the first desk members of the band. They can compare who has the most lyrical tone in this most profound passacaglia. Duration: 3 minutes 25 seconds.

  Third Movement - Allegro
Another dramatic movement, based on Dorian mode scale passages. Loud tutti sections are interrupted by delicate altercations amongst the first desk players. Duration: 4 minutes.


CONCERTO GROSSO RV 565 by Antonio Vivaldi, arr. James Moule
JS Bach thought enough of this concerto to transcribe it for organ (BWV 596). That transcription is the basis of this arrangement. There are no percussion parts. The piece sounds much more difficult than it is, though the 3rd movement will offer enjoyable challenges to most bands. Lower grade bands with strong "first desk" players (especially soprano) should have no trouble. Superb piece for concerts and contests.
Total duration: about 11 minutes.

1st Movement - Allegro
The movement opens with a mysterious canon for a few players which turns into a warm harmonic statement for the lower brass. A short bridging passage leads to a lively fugue which culminates in the famous pedal point. Not difficult for players who can count!
Duration: 4'40"

  2nd Movement - Sicilienne
Largo e dolce, this lullaby movement is scored for just seven players, the first desk members of the band. A short introduction preceeds a beautiful lyrical solo for soprano cornet.
Duration: 2'30".

  Third Movement - Allegro ma non troppo
A duet for soprano and solo cornets explodes into a magnificent tutti section, chords underpinned by virtuosic running passages. The euphonium parts are the most challenging (as they should be) so the show-offs can have something to do. The rondo gives everyone a turn.
Duration: 3 minutes.


CoViD-19 Blues by James Moule
An extended version of the quintet of the same name on this site.
Now the whole Band has caught it!
Comfortably pitched and suitable for a reduced band.
Duration: 3 minutes.


Crucifixus a 6 by Antonio Lotti, arranged by James Moule
This is a solemn sacred piece from the late Baroque era, orchestrated for brass band from a six-part motet.
It is especially suited to competitions. Being contrapuntal, players need to concentrate on their counting but otherwise, it is not difficult.
Duration: 2'35".


"Cum Sancto Spirito" from Mass in B Minor by J.S. Bach, arranged by James Moule
The publisher Nageli in 1817 described Bach's Mass as "the greatest work of music of all ages and all peoples" so it must be played by a brass band!
This riotous piece is the final movement of the "Gloria" which features a five-voice choir plus orchestra.
This arrangement requires a complete band with strong "front row" cornets.
Good to program with other movements on this page, "Sanctus", "Dona Nobis Pacem" and "Hosanna".
Duration: 4 minutes.


Dead Cat Bounce by James Moule
An extended version of the quintet of the same name on this site.
This piece was designed for a training band of about 15 players but will work with as few as five blowers.
The MIDI version is just the quintet. The band version has nice glissandos for the trombones, as well as a soprano cornet part.
Note that these parts are NOT compatible with those of the quintet version. Duration: 1'25".


"Dona Nobis Pacem" from Mass in B Minor by J.S. Bach, arranged by James Moule
The publisher Nageli in 1817 described Bach's Mass as "the greatest work of music of all ages and all peoples" so it must be played by a brass band!
This is the final movement of the Mass, a great fugue with a countersubject. Because of the counterpoint, everyone has to count, otherwise the whole piece will collapse.
This arrangement was revised in a more modern program in 2022.
Suitable as a sacred item in a band contest. Good to program with other movements on this page, "Cum Sancto Spirito", "Sanctus" and "Hosanna".
Duration: 2'35".


Easter Hymn Setting by Frank Bridge, arranged by James Moule
Bridge was a contemporary of Holst who suffered because he didn't have a foreign name. Little of his music is played today but he was regarded highly by other composers during his lifetime.
This setting is easier than the Holst setting on this site, consisting of three verses. The middle verse, mostly muted pianissimo, ends and the final verse, forissimo, explodes. Suitable for junior or lower grade contests.
Used by the St.George Brass Band in winning Junior B Grade Brass at the NSW Band Championships in 2022.
Duration: 3'10".


"Ein' feste Burg ist unser Gott" Chorale Words and music by Martin Luther, harmonised by JS Bach, arr. James Moule
"A Mighty Fortress is our God" became the battle hymn of the Reformation. In 2017, the 500th anniversary of the start of that earth-shattering period, we offer a rousing but comfortably pitched arrangement, suitable for concerts and contests. Duration: 2 minutes


Ecce Sacerdos Magnus by Anton Bruckner, arranged by James Moule
Originally written for double SATB chorus and trombone choir, this fiery piece is based on the Biblical verses from Ecclesiastes and the apocrypha("Behold, the great priest who has pleased God in his days..." from Sirach 50, 1).
This music is used for the installation of the Pope (see YouTube).
Bruckner shows his command of brass, as demonstrated in his symphonies. Suitable for lower grade bands as a sacred item in contests.
Duration: 2'40".


The Elephant from "Carnival of the Animals" by Camille Saint-Saens, arranged by Derek Moule
Originally written for double basses and piano accompaniment, this is a simple transcription for tubas. Here, the upper brass get the oompahs for a change! Very easy, except for the basses. Suits a smallish band best.
Duration: 1'35".


Fanfare Rondeau from "Sinfonies de Fanfare" by Jean-Joseph Mouret, arranged by James Moule
There are many arrangements of this piece that take no account of performance practice of the French Baroque. Sets of straight quavers were expected to be played with a dotted rhythm (notes inegales). To play such quavers straight is akin to playing swing jazz with a straight rhythm.
This is a great piece for opening a concert. All the difficulties are given to the 1st desk show-offs. Very suitable for lower grade bands.
Duration: 2'35".


Final from Symphony No.1 by Louis Vierne, arranged by James Moule
This piece is ideally suited to end a concert, especially of massed bands. The audience will leave with their ears ringing.
The melody is taken initially by the lower brass while the cornets have twitters. This is later reversed.
The central section includes a beautiful solo for flugel. The recap ends with huge forces. This is scored for a BIG band.
Some challenges but within the capabilities of good lower-grade bands.
Duration: 6'15".


Gloria in Excelsis Deo by Antonio Vivaldi, arranged by James Moule
This fanfare Gloria transcribes well for brass band. It makes a thrilling concert opener. Not difficult but some 1st desk players need to double tongue if they can and others have some high notes. Maybe put a solo cornet on rep.
Duration: about 2'30".


Hark the Glad Sound, the Saviour Comes by Doddridge & Foster, arranged by James Moule
This early 19th Century hymn is in three sections. This arrangement provides some nice solos, as well as sections with contrasting dynamics, making it an excellent contest Sacred Item. Quite easy for most players but providing challenges for soloists.
Duration: nearly 5 minutes.


Herr Christ, der ein'ge Gottes-Sohn by J.S. Bach, arranged by James Moule
This chorale is often used at Christmas. Rousing and optimistic, it suits an "after interval" restart piece for carols by candlelight. Very easy for most players.
Duration: about 1'30".


Heut' Triumphiret Gottes Sohn by J.S. Bach, arranged by James Moule
This chorale from "The Little Organ Book" is often used at Easter. Rousing and optimistic, it is suitable as an exit. This arrangement is the quartet version on this site with the cantus firmus superimposed.
Very easy for most players and fun for the others.
Duration: 1'15".


"Hosanna" from Mass in B Minor by J.S. Bach, arranged by James Moule
The publisher Nageli in 1817 described Bach's Mass as "the greatest work of music of all ages and all peoples" so it must be played by a brass band!
This glorious movement contains very complex counterpoint, originally spread across two SATB choirs and orchestra. In consequence, the scoring splits solo cornets into two pairs.
Challenging for "1st desk" players but comfortable for most of the band. Good pairing with other movements on this page, "Dona Nobis Pacem" and "Sanctus".
Duration: 2 minutes.


"HIPPOLYTE ET ARICIE" SUITE by Jean-Philippe Rameau, arranged by James Moule
This is a major contest piece or concert work for full band and optional narrator, suitable for D grade or junior bands.
The Suite is derived from the hunting scene in Act IV Scene 3 of the opera.
Note that there is a version for quintet on this site.
Total playing time: about 9 minutes.

1. Faisons Partout Voler nos Traits
Roughly translated "Let's make our traits fly everywhere", this is a galop in six-eight time.
Duration: 1'40"

  2. Entree des Habitants de la Foret
"Entry of the forest inhabitants" is a slow, reflective piece.
Duration: 2'20"

  3. Rondeau
Dance interlude for orchestra in six-eight.
Duration: 2'20"

  4. Menuets
Menuet II is a duet and is followed by a reprise of Menuet 1.
Duration: 2 minutes

  5. Rondeau: "A la Chasse"
"To the hunt", originally for chorus and soprano, this is another galop, this time in twelve-eight.
Duration: 1'45"


IBERIA by Isaac Albeniz, arranged by James Moule
These are major contest pieces or concert works for full band, suitable for a complete, well-equipped and competent middle grade band with a strong, sensitive conductor. For each piece, both the dynamic range and pitch range are extensive.
The original set of 12 virtuosic piano pieces grouped as "Iberia" are masterpieces that demand orchestration or, better still, arrangement for brass orchestra with lots of percussion. Each piece represents an aspect of Spain.
The pieces below may be played as a suite or separately.
Total playing time: Around 17 minutes.
The MIDI files are only rough representations (Why does the flugel convert to a tuned percussion instrument?).

First Mvt: Navara
Not part of the original "Iberia" and left incomplete at the composer's death, this is a joyous and tuneful celebration of this region. Difficult for the cornet section.
Duration: 5 minutes.

Second Mvt: Triana
Representing what was then a poor suburb of Seville, this curiously Middle Eastern movement features squawking muted choruses interrupting a sinister theme. Later, a sweet tune in a major key gradually builds to a tumultuous climax. (Does someone get killed?)
Duration: 4'45".


Third Mvt: El Corpus en Sevilla
The capital is quiet at dawn and slowly awakes to celebrate The Feast of the Body of Christ.
The procession begins at 8:30am and the music reflects both the grandeur and the excitement of the day.
The long solo for cornet in the central section contemplates the religious significance of the day. Then the focus is once again on the procession as it nears the cathedral where the dance of Los Seises is performed. Suddenly, the festival ends and the city drifts into nightfall as the church bells toll. The ending is most evocative. The MIDI file here is a travesty.
This is a spectacular piece. Even more percussion such as rachet and tambourine could be added. Quite straightforward but a strong cornet section is essential. The Glock part is important and quite difficult. Duration: 7 minutes.


In Dir Ist Freude Gastoldi / Bach, arr. James Moule
The Christmas hymn "Balletti" by Gastoldi, set to the words "In Thee is Gladness" and harmonised by J.S. Bach is coupled with the chorale prelude from Orgelbuchlein. This arrangement requires a complete band with good soloists, everybody able to count "one-and-two-and-three-and". Percussion parts are optional but smaller bands might do better by using the sextet version. The piece is a lot of fun and is suitable for all festive occasions. A good opener for the dreaded Carols by Candlelight! Once again, the midi file gives no indication of the grandeur of the piece. Duration: 4'10".


In Dulci Jubilo 15th century tune set by JS Bach, arr. James Moule
This Christmas hymn was harmonised by J.S. Bach and set as a chorale prelude several times. This version is from the miscellaneous chorale preludes. This is a fairly easy arrangement that requires a complete band with a few good soloists, everybody able to count "one-and-two-and-three-and". Percussion parts are optional. The piece is a lot of fun and is suitable as opener for the dreaded Carols by Candlelight! Could be used as a contest sacred item. Duration: 2'15".


ISAAC CORNWELL 1774 - 1811 by James Moule
This is a major contest piece or concert work for full band and optional narrator, suitable for D grade or junior bands.
It tells the true life story of a young boy transported as a convict to New South Wales where he suffers, prospers and dies.
Total playing time: 12'30".
First Mvt: Crime and Punishment
A pompous slow march is later puntuated by a mischievous soprano cornet who pops up at different points around the stage. A solemn trial sentences the youth to seven years transportation to Sydney Town. A quartet praises the Lord for saving them from this heinous criminal.

  Second Mvt: The Voyage of the Third Fleet
The basses groan as the old ships leave Plymouth, then the wind picks up and a rolling surge takes the ships across the Atlantic to Rio. Here, an Afro-Latin-American band can be heard playing the rhythmic tunes that will one day inspire music in the north. On departing Rio, the fleet rounds The Cape of Good Hope and catches a wild ride on the Roaring Forties to, what they call, Botany Bay.

  Third Mvt:Convict Life in New South Wales
Slow movement depicting a gang of convicts. The overseer maintains order with a whip.


Fourth Mvt: Love and Death
The movement opens with a happy minuet, followed by a second minuet whose melody joins in counterpoint with the first as Isaac marries Margaret. Joyful celebrations follow but drunkenness ensues and the Irish jig ends suddenly with two rifle (musket) shots. While American bands will be able choose from a range of real firearms, others might try starting pistols doubled by the snare drum. The piece ends with a short funeral march.


Jesus Christ is Risen Today arranged by James Moule
This is a straightforward arrangement of this famous Easter Sunday hymn with three verses showcasing different sections of the Band. Comfortably pitched and suitable for lower grade bands for contests.
Duration: 2'20"


LATIN SUITE by James Moule
Expanded version of quintet, suitable for C grade bands.
First Mvt: Bolero
Spanish pastiche based on repetition, punctuated by banal bullfighting fanfare. Duration: 1'40".

  Second Mvt:Lament
Mournful, plaintive serenade which builds into thick counterpoint. Duration: 2'15".

  Third Mvt:Rhumba
Rhythmic dance that builds layers of melody in counterpoint.The MIDI version here gives little indication of the correct sound, especially percussion. Duration: 2'15".


Le Pas Espagnol from "Dolly" suite by Gabriel Faure, arr. James Moule
Other movements of this suite for piano duet have been set for brass band (Beceuse) but not this fine finale which has a wonderful fanfare theme, quieter passages occasionally intervening. Nice solos and generally comfortably pitched, though the 1st Desk players will be challenged. A great piece to start or end a concert. The MIDI file is a poor indicator of the quality of this piece. (Why does the flugel sound like a drum?)
Duration: 2'15".


Litanies by Jehan Alain, arr. James Moule
Arguably the finest piece of organ music of the 20th century, this piece requires a full A-Grade band. Players need to hear a recording to get the rhythm in their heads.
The MIDI file comes nowhere close to the sound required.
Duration: 3'50".


March from Suite No.2 by Leon Boellmann arr. James Moule
One of the many tragic stories in music, Boellmann died at the age of 35.
As for his "Suite Gothique", this movement is an excellent concert piece, ideal for opening or closing a concert.
This transcription is designed for strong, complete lower-grade bands.
Duration: 5 minutes


"Mars, the Bringer of War" from "The Planets" by Gustav Holst, arr. James Moule
In scoring this huge orchestral work for brass band, compromise is inevitable.
Taken from the original score and a two-piano reduction, this arrangement seeks to do justice to the original work while being playable by lower grade bands with strong 1st desk players.
It is still quite difficult with most players getting plenty of challenges.
A full band is essential and there are three percussion parts which must be covered.
Duration: 7 minutes


Minuet (Andante) from Organ Concerto Op.4 No.1 HWV289 by G.F. Handel
Based on the final movement of the Concerto which, being in G major, is not friendly to brass players.
Beginning quietly with various soloists, the movement builds in nobility and volume.
Excellent concert piece, suitable for opening or closing a concert program.
There is a version for octet on this site (Six or More page).
Duration: 5 minutes


Norwegian Dance Op.35 No.4 by Edvard Grieg, arr. James Moule
Rousing march with a pensive middle section full of Eastern tonality. Challenging piece for some players, especially soprano cornet. Sorry that the MIDI file is so poor.
Duration: 4'50".


Nunc Dimittis by Gustav Holst, arranged by James Moule
This is a superb piece for use in concerts or as a sacred item in contests.
This arrangement of the eight-part choral piece requires an extensive range in tone, volume and pitch.
Suitable for low grade bands with good 1st desks players. (For some mysterious reason, the flugel part in the MIDI file sounds like a glockenspiel.)
Duration: 2'50".


Nun Danket Alle Gott (Now Thank We All Our God) by Sigfrid Karg-Elert, arranged by James Moule
Rousing chorale improvisation, suitable as a contest sacred item. Not very difficult. The cadenza bars should not be rushed or played in strict time.
Used by St.George Brass to gain 2nd place in the NSW State Band Championships Open D Grade Brass Sacred Item section (and 2nd overall) in 2015.
For some mysterious reason, the flugel part in the MIDI file sounds like a glockenspiel. Duration: 3'30".


Opossum Hunt by Thomas E. Bulch
Hunting possums is illegal in Australia today (but not in New Zealand) and not very sporting. When this was written, before 1891, everything was fair game, even koalas.
Although this was published on march cards, it is a galop and would not be suitable for a street march.
The only dynamics indicated in the original are the piano at letter E and the forte at the end of that section, plus the cresc. / dims.
Bob Pattie supplied the march card scans. Quite easy for most players. The speed is the editor's suggestion.
Duration: 2'15"


Organ Concerto No.7 by G.F. Handel, arr. James Moule
This is the only one of Handel's 16-odd keyboard concertos that has a pedal part indicated. Handel wrote these works to show off on organ during opera intervals. Most are based on themes from other works. Other concertos on this site require only a chamber organ and small ensemble.
This one is designed for a large organ in a large hall. Some parts in this arrangement are superfluous so a reduced band is adequate. The organ part dominates and is exactly as Handel wrote it, except that the ad libs and figured basses are filled out. (Your organist might prefer another version and this should work with this brass backing.) Only part of the 1st movement is provided and that is enough. Some high notes but otherwise easy.
Duration: a little over 5 mins.


Over the Drowsy Sea by Sergei Taneyev, arranged by James Moule
This choral piece, Opus 27 No.12, begins with a contemplative, tranquil section for an ensemble of 1st desk players. This is followed by a robust allegro, mostly at fortissimo. Comfortably pitched and not difficult. Suitable as a concert or contest item for lower grade bands. (The MIDI file is a poor indication of the arrangement.)
Duration: 3'20".


PAR AVION by James Moule
This three-movement suite of program music reflects the experience of the composer before, during and after a flight across the New Zealand Alps in a Fokker Friendship in 1971. It is suitable as a contest piece for lower grade or junior bands.
The MIDI files are rubbish. Send an email to jamesmoule@yahoo.com if you would like a .wav file.
Total time: about 7 minutes.

First Mvt: Packing It
Chaos and panic ensue as a late wake-up alarm makes getting to the airport on time only a remote possibility. Duration: 2 minutes.

  Second Mvt: To the Top of the Clouds
The flight itself is portrayed by a '60s style beguine. Turbulence causes some anxious moments. Duration: 2'30".

  Third Mvt: Baggage Fugue
A fugue on the notes B-A-G-G-A-G-E as the passengers run around the terminal in a desperate search, culminating in great relief and jubilation.
Duration: 2'15".


Praise My Soul, the King of Heaven by Sir John Goss, arranged James Moule
Goss was Master of the Queen's Musick under Queen Victoria. This tour de force of choral harmony has a 25 bar tune harmonised in four different chord progressions. Revised and upgraded to make it more suitable for contests. Not difficult but the new version gives more opportunities for 1st Desk players to show off in Verse 4. Duration: 2'15".


Prelude in C Minor by J.S. Bach, arr. James Moule
This great organ piece from Bach's mature years features powerful monoliths of full band interspersed with contemplative ensemble sections. Bands that want to play this style of music will have no trouble. Some high notes for first desk players. This is a good contest piece for C or D grade. Percussion is optional (timpani in the last bars would be appropriate). This is serious music - turn out the lights and scare the kids! With a spread band, spectacular antiphonal effects (bass Vs treble) can be achieved. Scored using MuseScore. The MIDI file sounds quite odd. Duration: a little over 6 minutes.


PRELUDE & FUGUE IN E FLAT ("St.Anne") by J.S.Bach, arranged by James Moule
This acclaimed work from Bach's maturity has become one of the best loved of his organ pieces. He used it as the book ends of the 3rd book of Clavierubung, the so-called organ mass. This is a major concert / contest piece for band. Bands that want to play brass orchestral music will manage but a full band is required. There are no percussion parts. This is Bach in a joyous, festive mood. Start your Christmas concert with the Prelude and finish with the Fugue. Conductors would benefit from hearing a good performance on organ (YouTube?) as the MIDI files provided are crude. Note that the early version on this site (Aug '13) was revised in April 2014 to correct errors and make the parts easier.

Duration: Just under 9 minutes. Many solo passages involving several different instruments. Lots of accurate counting required. Revision affected more than half the parts.


Duration: Just under 7 minutes. Much has been made of the religious significance of the number '3' in this piece (three themes, three flats). The nickname "St.Anne" comes from the similarity of the first subject to the hymn tune of that name (O God Our Help in Ages Past). Revision affects 2nd cornet, 2nd horn and Flugel.


Prelude to "Die Meistersinger" by Richard Wagner, arranged by James Moule
This magnificent overture should have been written for brass band in the first place!
This is an abridged version. The original is twice as long and much more difficult. I have scored the full overture but I expect that few bands would be interested in playing it.
If you want a copy, send me an email and I'll email back a copy.
This piece is a 'big blow' with lots for everyone to do. Most parts are easy but some 'first desk' players get a real workout.
Duration: a little over 5 minutes.


Princess of Kensington by Edward German, arranged by James Moule
This "fairy opera" by Basil Hood and Edward German (nee Jones) lacks the wit of WS Gilbert but some of the music is worth preserving.
This selection features the Overture (Bridal March), the beautiful part song "Who that Knows" and the wild finale "See the Rainbow Arch".
Not difficult and suitable for concerts by lower grade bands. Doubling of parts makes this suitable for small bands.
Duration: 5'30".


Psalm 130: "Out of the Depths I cry for Thee" by Felix Mendelssohn, arranged by James Moule
This short chorale is from the Sonata No.3 for organ. Ideal training piece for cantabile playing.
Duration: 1'14".


Psalm 148 by Gustav Holst, arranged by James Moule
Usually sung to the words: "Lord, who hast made us for Thine own", the tune dates back to Louis Bourgeois circa 1543 and probably earlier. Gustav Holst's magnificent arrangement for choir and orchestra has several sections: a unison cantus firmus, a solo for soprano, sections for bass chorus and treble chorus and, of chorus, a thundering conclusion. The result is an outstanding contest hymn that is well within the reach of low grade bands. (Also famous for the Mr.Bean sketch with Rowan Atkinson and Richard Briers.)
Duration: 5'30".


Rule Britannia by Arne, arr. James Moule
Straightforward arrangement of low difficulty. Suitable to accompany singing.


"Sanctus" from Mass in B Minor by J.S.Bach. arr. James Moule
The publisher Nageli 1817 in described Bach's Mass as "the greatest work of music of all ages and all peoples" so it must be played by a brass band!
Note that the Soprano, Principal Solo and rep/flugel form a separate soloists group.
This is a rousing piece, eminently suitable as a sacred item in a contest.
Good for pairing with other movements on this page: "Cum Sancto Spirito", "Dona Nobis Pacem" and Hosanna".
A "big blow" but only for two and a half minutes.


Scottish Songs Trad. arr. James Moule
Fairly straightforward concert arrangement, suitable for lower grade bands. Songs are Annie Laurie, Marie's Wedding, Skye Boat Song, Eriksay Love Lilt, Road to the Isles and Loch Lomond.
Written for the strengths of Orange PCYC Brass Band to use in a St.Andrews Day concert held on 3rd December 2006.
Duration: 4'20".


Somerset Wassail Trad. arr. James Moule
Reduced version of the last section of "Songs from the Land of St.George", used for a workshop for junior players. Duration: just over 1 minute.


Songs of the Land of St.George Traditional, arr. James Moule
Written for the annual St.George's Day concert, 2005, this piece is based on four traditional English songs: "Oh No John", "Widdicombe Fair", "Barbara Allan" and "Somerset Wassail". Not difficult and the drum kit part adds greatly to the excitement, especially in the last movement. The midi file here does not do justice to the piece. Duration: 3'30".


SUMMER LUNCH by James Moule
This is an expanded version of the quintet of the same name on this site. This version suits a junior band or a small band as all the parts are doubled. Not difficult.
The movements follow the courses of a typical summer lunch in Sydney, Australia, home of St.George Brass Band.

Salad is what you get when you cross a samba with a ballad. Fresh vegetables from Flemington Markets. Duration: 2 minutes.


The Selfish Shellfish
Seafood is a favourite of Sydney-siders, bought from the Sydney Fish Markets. This little mussel is apparently reluctant to be eaten and must be washed down with a fresh dry white from Margaret River or The Barossa. Duration: 1'35".


Mango Tango
For dessert in early summer, we have mangoes from Queensland, served with ice cream. Duration: 1'25".


SYLVIA BALLET SUITE by Leo Delibes, transcribed by James Moule
"Silvia" and "Coppelia" were landmark ballets in which the music was given more prominence. Several movements have strong brass sections.
This transcription follows the original score closely, except for transposing to more friendly keys.
A complete band is required. Suitable for major concerts and lower-grade contests. Any very high notes in the Soprano Cornet parts should be considered aspirational.
If your band has only two timpani, use a bass drum for other notes.
Total playing time: approximately 14 minutes

1. The Huntresses
A stately Prelude is followed by an exuberant hunting galop, led by the horns. After a short reflective section, the movement finishes in a wild frenzy.
Duration: 3'40".


2. Valse Lent
This graceful movement is scored lightly, with Bass Trombone and Timpani omitted.
Duration: 2'30".


3. Pizzicati
Popularly known as "The Pizzicato Polka", this movement was used as the leitmotif of "The Little Fiddle" by Danny Kaye.
Scored lightly, with Bass Trombone and Timpani omitted.
Duration: 1'45".


4. Cortege de Bacchus
March movement, opening with a fanfare, later turning to a galop and a reprise of the Prelude. The ending is another wild affair.
Duration: 6 minutes.


Tantum Ergo by Camille Saint-Saens, arranged by by James Moule
Saint-Saens wrote a surprising amount of church music, considering he was an atheist!
This is one of his Tantum Ergo settings, originally for eight-voice choir and organ. It has lower brass features, upper brass features and contrasting moods. Excellent contest piece. Easy.
Duration: 3'15"


Teddy Bears' Picnic by by John Bratton, arranged by James Moule
This famous song of 1907 has been available for brass band in various forms over the years.
This version is a tone lower than usual, giving easier keys. Also available in march card size.
A D.S. so that it fits on march cards means that the final stanza is just a repeat, not as grand as in earlier versions.
Easy. Duration: 3'10"


There is a Balm in Gilead Spiritual, arranged by by James Moule
This beautiful Afro-American spiritual was made famous by Paul Robeson.
This arrangement suits concerts and contests. It requires a sensitive conductor. Solos should be brought to the fore.
Used by City of Devonport Brass to gain 2nd place in Tasmanian Band Championships 2023.
Easy. Duration: 3 minutes


Thus Spake Zarathustra (Opening Theme) by Richard Strauss, arr. Lauren & James Moule
This is the famous fanfare used in the movie "2001: A Space Odyssey". This arrangement was written for a junior band workshop. Not all instruments in a brass band have parts specifically for them so eupho plays the trombone part, etc. Duration: 1 minute.


The Tower Ruins by Sergei Taneyev, arranged by James Moule
This is a full band version of the quartet on this site. Towering chants alternate with allegretto dance sections. Comfortably pitched. Suitable for contests and concerts for lower grade bands. Duration: 5 minutes.


Vater Unser Im Himmelreich (Our Father Who Art in Heaven) by Felix Mendelssohn, arr. James Moule
Mendelssohn began his final organ sonata with Luther's setting of The Lord's Prayer and finished with a beautiful sicilienne. This transcription is comfortably pitched for junior players, though low notes might be a bit "growly". Suitable as a contest sacred item. There is a quintet version on this site. Duration: 3 minutes.


Wandering the King's Highway by Leslie Coward, arranged by James Moule
Famously sung by Peter Dawson, this song dates from 1935 and is still a crowd favourite at sing-along parties.
Based on the quintet arrangement on this site.
Something different for park play-outs or concerts in nursing homes.
Duration: 2'30"


Warm-up Choons arranged by James Moule
Multicultural bands like ours might have members who feel uncomfortable about warming up on Salvation Army hymns every week. These four pieces help with tone, balance and intonation. 1st / 2nd cornet, 1st horn, baritone and Eb bass are the five main parts and could be used to warm up a quintet. Pieces are "Won't You Buy my Pretty Flowers", "Drink to Me Only With Thine Eyes", "The Minstrel Boy" and "Men of Harlech". Easy for everyone. Not enough different parts for a large band though.


We Will Remember Thy Name by G.F. Handel, arranged by James Moule
This rousing chorus for choir and organ is best suited to a large, complete band. Great concert piece. Not easy but challenges are manageable.
Duration: 3 minutes.


What Did You Expect? by James Moule
Flexiset arrangement of solo on this site. Suitable for training bands. Very easy.
Duration: 90 seconds.


You're a Grand Old Flag by George M. Cohan, arranged by James Moule
Easy march, arranged to play at a football match (team song), reflecting the musical taste of football fans. Formatted for march cards.
Duration: 2 minutes.


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