Forton Music

Forton Music We publish wind music for ensembles of all sizes.

11/06/2026

https://fortonmusic.co.uk/product/15-inventions-4/

These inventions were originally written by Bach in the early 1700s as teaching exercises, but the results are also beautifully musical. As duets, they make a great way to share music with a friend.

10/06/2026

https://fortonmusic.co.uk/product/from-tudor-times-3/

Thomas Frederick Dunhill (1 February 1877 – 13 March 1946) was a prolific English composer in many genres, though he is best known today for his light music and educational piano works. His compositions include much chamber music, a song cycle, The Wind Among the Reeds, and an operetta, Tantivy Towers, that had a successful London run in 1931. He was also a teacher, examiner and writer on musical subjects. Originally written for string orchestra, this suite shows Dunhill’s interest in earlier music. The eight movements come from various sources, but are all from the Renaissance period. Straightforward but rewarding for all involved.

09/06/2026

https://fortonmusic.co.uk/product/three-fanfares-for-orchestral-brass/

These three declamatory movements are intended for performance by student or professional musicians. They can serve as introductions to orchestral concerts and other occasions or function as stand-alone pieces. They are loosely linked and may be played separately or in sequence. The second develops an arching motif, starting on solo tuba

08/06/2026

https://fortonmusic.co.uk/product/octet-op-103/

While the wind band was not a major focus of Beethoven’s output, he did contribute meaningfully to the medium in his early years. This came primarily through his Octet, op. 103, which he composed in 1792 and 1793, while still in the service of the court at Bonn. Like much of the harmoniemusik of the day, it was considered light entertainment to be played at dinner parties. The first movement is in a lean sonata form, dominated by one central theme, buoyant and frothy. The second movement is a set of strophic variations riding on a lilting barcarolle rhythm. The third is marked “Minuet” but the spare melodic language begs the scherzo tempo that Beethoven would pioneer in such movements. And for the finale, a rollicking rondo full of Haydnesque solo gestures. Beethoven’s Octet is a tuneful and sunny summation of the charm and color of classical wind chamber music.

05/06/2026

https://fortonmusic.co.uk/product/four-flourishes-for-four-flutes/

Four Flourishes for Four Flutes is a quartet for three concert flutes and alto flute consisting of four short pieces and with a total performance duration of a little under eight minutes. The highly enjoyable and accessible pieces are contrasted in mood and style opening with a rhythmic and dynamic Moto Perpetuo.

02/06/2026

https://fortonmusic.co.uk/product/sonatina-for-trumpet-horn-and-trombone/

This piece combines and contrasts the different colours of the three instruments. The first movement is in abbreviated sonata form, including a slow introduction which is restated at the end of the short development section. The second movement is a gentle romance. The piece ends with a playful gigue which includes themes from the preceding two movements.

29/05/2026

https://fortonmusic.co.uk/product/the-hawthorn-blues/

I wrote The Hawthorn Blues for a family I know, who live near London. All four children played a musical instrument and for several years, I had promised that I would write something for them. In 2005, their parents came to a concert featuring one of my pieces, at London’s South Bank Centre and I was reminded of my promise to their children! On the last day of 2005, I finished a three movement work – The Hawthorn Blues. ‘The Hawthorns’ is the name of their house, hence the title. The three older girls played the flute, clarinet and piano and wanted something ‘unique’ to play if they were ever asked to perform at a school concert. The piece was designed to be performed as a whole or if desired, as separate ‘stand alone’ pieces. The first movement incorporates a 12-bar structure (with some adaptations) as the basis. The second, a much slower piece, uses a mournful tonic minor – subdominant minor (including the 7th) progression coupled with a gentle swinging 4 beats in the bar. The final movement is a quick, boogie-woogie based in part, on one of the pieces their parents heard at the SBC in 2005. Here, the performers will need to work hard to stay together!

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