Product Description

Brass Bands are sometimes accused of lacking musical variety, but in this work, using examples from classical as well as from Brass Band composers, Ray Steadman-Allen defines the terms 'colour' and 'texture', and shows how variations of each can be achieved by the composer of music for Brass Bands. He reveals many secrets of compositional technique through these 'classical' examples, as well as giving a flavour of the inspiration which lies behind his own work. "Colour and Texture" is primarily aimed at those who compose or are thinking of composing, but this book will prove invaluable to conductors in getting to grips with the score in front of them. Players, too, will benefit from the insights that Steadman-Allen provides. Even the humble listener may discover a new awareness, which will increase his/her enjoyment. Well produced and clearly written by a top flight practitioner of the craft, this reprint after 25 years will be welcomed by many who want to go beyond the 'basics' into the intricacies of compositional technique.

Product Details

• Amazon Sales Rank: #846841 in Books
• Published on: 1980-01-01
• Format: Facsimile
• Original language: English
• Binding: Paperback
• 84 pages

Stephen Cobb - Salvationist, Saturday 22nd October 2005
Colour and Texture in the Brass Band Score remains a valuable guide to anyone interested in quality music-making.

From the Publisher
First published in 1980, this admirable volume has been reprinted due to continued demand from composers, arrangers and university music departments alike.

About the Author
Lieut-Colonel (Dr) Ray Steadman-Allen was born on the 18th Sept 1922 to Salvation Army officer parents. When they were appointed to London in 1937 he obtained a job at International Headquarters as office boy to General Evangeline Booth, daughter of The Salvation Army's founder. In 1942 he enlisted in the Royal Navy. He was examined for a music diploma by Sir Granville Bantock who invited him to apply for a job in music after the war. In the event, Bantock died, and Ray joined the Music Editorial Department of the Salvation Army. Following a short postwar period as a trombonist with the International Staff Band, he developed his conducting skills, and was Bandmaster of the Tottenham Citadel (later Enfield) Band. His first piece of published music was a march called Gladsome Morn, written in 1945. Much of his music was ahead of its time, to the point that it was sometimes considered unacceptable to the listener. Lord of the Sea created furore! His creative genius has been given totally to God, and has been instrumental in guiding Salvation Army music into uncharted territory, particularly when the International Music Editorial Department was under his leadership between 1967 and 1980. Besides over 200 published brass band pieces for The Salvation Army, he has written numerous choral works with a large number of compositions and arrangements in manuscript, often completed for recordings or special concert presentations. A number of works have been used as test pieces including Seascapes, Stantonbury Festival, Amaranth, The Beacons and Hymn at Sunrise, as well as a sizeable body of works for wind band including A Cambridge Triptych. Besides completing his doctorate in music, he holds several honorary fellowships, is the President of the National College of Music, Vice President of the Brass Band Conductor's Association, and patron of the London Musicological Research Society His contribution to the music world, and especially The Salvation Army continues to be exceptional. He was honoured in June 2005 to be admitted to the Order of the Founder, the highest possible recognition for a Salvationist