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Guthrie: The Trumpet, Trombone
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Vous avez sélectionné:
Guthrie: The Trumpet, Trombone
Partitions à imprimer
13 partitions trouvées
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1
The Trumpet, Trombone & Tuba Christmas Trio Book
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Noël
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Traditional
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James M
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Tuba
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The Trumpet, Trombone & Tu
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jmsgu3
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SheetMusicPlus
Small Ensemble Trombone,Trumpet,Tuba - Level 2 - SKU: A0.550827 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Holiday,Instruct...
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Small Ensemble Trombone,Trumpet,Tuba - Level 2 - SKU: A0.550827 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Holiday,Instructional,Standards. Score and parts. 175 pages. Jmsgu3 #4834603. Published by jmsgu3 (A0.550827). 20 of the most popular Traditional Christmas songs arranged for Trumpet, Trombone & Tuba. Each song is arranged in three versions where each instrument has the melody in turn. Score: 60 pages, Duration: 40 min. Players read from the score.Contents Veni, veni Emannuel 1 Helmsley 4 Antioch 7 Carol 10 Es ist ein Ros 13 Gloria 16 God Rest You Merry 19 Greensleeves 22 In Dulci Jubilo 25 Mendelssohn 28 Personet hodie 31 The First Noel 34 Salzburg 37 Three Kings of Orient 40 Adeste Fidelis 43 St. Louis 46 Away in a Manger 49 Stille Nacht 52 Auld Lang Syne 55 We Wish You a Merry Christmas 58.
$42.95
Guthrie: Canzona a6 for Brass Sextet
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James M
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Guthrie: Canzona a6 for Brass
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 4 - SKU: A0.1324834 Composed by James M. Guthrie. 21st Century,Chamber,Contemporary. 105 pages. Jmsgu3 ...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 4 - SKU: A0.1324834 Composed by James M. Guthrie. 21st Century,Chamber,Contemporary. 105 pages. Jmsgu3 #913046. Published by jmsgu3 (A0.1324834). The Brass Canzona holds significant importance in music history as it influenced the development of instrumental music and later musical genres. The Canzona, derived from the Franco-Flemish and Parisian chansons, was an instrumental form characterized by livelier, rhythmic material and distinct sections. Brass canzonas, such as Giovanni Gabrieli's La Spiritata, were composed to maximize the resonance of instruments and the performance space, often performed by various combinations of trombones and trumpets. These canzonas influenced the evolution of the fugue in the Baroque era and were direct ancestors of the 17th-century sonata da chiesa. Additionally, the ensemble canzonas of Gabrieli and Girolamo Frescobaldi led the way to the trio sonata, a dominant chamber genre of the Baroque era. Therefore, the Brass Canzona's significance lies in its influence on the evolution of instrumental music and its contribution to the development of later musical forms. While modern renditions may encounter challenges related to the range of parts and achieving a balanced sound with the organ or other instruments, they continue to provide valuable insights into Canzona's historical context and musical qualities. Therefore, modern Brass Canzonas are essential for preserving and interpreting this influential musical form, contributing to the development of instrumental music and later musical genres.
$39.95
Sullivan: The Lost Chord for Baritone Horn & Piano
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for B
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 4 - SKU: A0.552854 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,...
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Baritone Horn TC,Euphonium,Piano - Level 4 - SKU: A0.552854 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497277. Published by jmsgu3 (A0.552854). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
Sullivan: The Lost Chord for Oboe d'Amore & Piano
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for O
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jmsgu3
#
SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 4 - SKU: A0.549449 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructio...
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Instrumental Solo,Oboe d'Amore,Piano - Level 4 - SKU: A0.549449 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 15 pages. Jmsgu3 #3497155. Published by jmsgu3 (A0.549449). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Josquin: 22 Duets for Trumpet & Bass Trombone
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Josquin des Prez
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James M
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Josquin: 22 Duets for Trumpet
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jmsgu3
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SheetMusicPlus
Bass Trombone,C Trumpet,Instrumental Duet - Level 3 - SKU: A0.1074276 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instr...
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Bass Trombone,C Trumpet,Instrumental Duet - Level 3 - SKU: A0.1074276 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678569. Published by jmsgu3 (A0.1074276). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon†and the more complex “strict canon.†He was also an early adopter of the “inverted canon†form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.
$32.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Bach: 15 Two -Part Inventions for Trumpet & Bass Trombone
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Classique
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Johann Sebastian Bach
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James M
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Bach: 15 Two -Part Inventions
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jmsgu3
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SheetMusicPlus
Instrumental Duet - Level 4 - SKU: A0.550561 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Christmas,Easter,Standards....
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Instrumental Duet - Level 4 - SKU: A0.550561 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Christmas,Easter,Standards. 69 pages. Jmsgu3 #4735971. Published by jmsgu3 (A0.550561). The 15 Two-Part Inventions BWV 772-786, arranged for Trumpet (in C) and Bass Trombone. Score: 35 pages, 489 measures. Total Duration: ca. 24:55.
$38.95
BACH: The Goldberg Canons from BWV 988 for Brass Trio
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Classique
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Johann Sebastian Bach
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James M
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BACH: The Goldberg Canons from
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jmsgu3
#
SheetMusicPlus
Level 4 - SKU: A0.552707 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. 54 pages. Jmsgu3 #6536329. ...
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Level 4 - SKU: A0.552707 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. 54 pages. Jmsgu3 #6536329. Published by jmsgu3 (A0.552707). The Goldberg Canons from BWV 988 for Brass Trio: Trumpet in C, Horn in F, Bass Trombone
$34.95
This Land Is Your Land
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Folklorique/Traditionel
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New Christy Minstrels
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Stephen DeCesare
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This Land Is Your Land
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Exultet Music
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.631337 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and par...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.631337 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and parts. 20 pages. Exultet Music #6532285. Published by Exultet Music (A0.631337). (This version contains two Trombones in place of a French Horn and Trombone) One of the United States' most famous folk songs. which was written in critical response to Irving Berlin's God Bless America. When Guthrie was tired of hearing Kate Smith sing God Bless America on the radio in the late 1930s, he wrote this song and it has been freshly arranged for a Brass Quartet (Bb-Trumpet (2), Trombone (2) ) with Piano accompaniment. Accessible and appropriate for any school or concert setting.
$12.99
BACH: Fifteen Sinfonias BWV 787-801 for Brass Trio
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Classique
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Johann Sebastian Bach
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James M
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BACH: Fifteen Sinfonias BWV 78
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jmsgu3
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SheetMusicPlus
Level 4 - SKU: A0.552703 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. 112 pages. Jmsgu3 #6533319....
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Level 4 - SKU: A0.552703 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. 112 pages. Jmsgu3 #6533319. Published by jmsgu3 (A0.552703). Fifteen Symphonien (3-part inventions) for Brass Trio: 2 Cornets or Trumpets & Bass Trombone The 15 Sinfonias, also known as the Three-Part Inventions, are a collection of short compositions by Johann Sebastian Bach. They were initially written as musical exercises for his students, intended to help keyboard players develop their technique and strength in playing with both hands equally. The Sinfonias are significant as they represent a form of three-part counterpoint, providing explicit instruction for students to learn to deal correctly and well with three obbligato parts and achieve a cantabile playing style. The collection consists of 15 sinfonias, each arranged in ascending order of key, covering eight major and seven minor keys. Bach's 15 Sinfonias are valuable for their educational purpose and contribution to the keyboard technique's development. The main difference between Bach's Inventions and Sinfonias is their musical structure. The Inventions are two-part contrapuntal pieces, while the Sinfonias are three-part contrapuntal pieces.
$36.95
Franck: Pastorale Op. 19 for Brass Choir
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Cesar Auguste Franck
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James M
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Franck: Pastorale Op. 19 for B
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jmsgu3
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SheetMusicPlus
Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.1486679 Composed by Cesar Auguste Franck. Arranged by James M. Guthrie. 19th Century,Chamber,Histori...
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Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.1486679 Composed by Cesar Auguste Franck. Arranged by James M. Guthrie. 19th Century,Chamber,Historic,Romantic Period,Standards. 35 pages. Jmsgu3 #1063743. Published by jmsgu3 (A0.1486679). César Franck's Pastorale, Op. 19, composed in 1863, is historically significant for its departure from traditional pastoral music conventions. Unlike typical pastoral compositions, it lacks the usual compound meter and imagery associated with shepherds and rural life. The piece is part of Franck's Six Pièces for Large Organ and is dedicated to Cavaillé-Coll, the organ builder at St. Clotilde. Its simplicity in registrations, use of pedal points, and the absence of pastoral imagery make it a unique contribution to organ music. Franck's overall contributions to music and his innovative approach to composition have left a lasting legacy in the cultural sphere. Therefore, the romantic significance of Franck's Pastorale, Op. 19, lies in its innovative departure from traditional pastoral music conventions, contributing to the richness of the romantic musical repertoire.
$49.95
Beethoven: Suite WoO 33 for Brass Quartet
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Classique
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Ludwig van Beethoven
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James M
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Beethoven: Suite WoO 33 for Br
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jmsgu3
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SheetMusicPlus
Brass Quartet Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1240001 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Chamber,Class...
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Brass Quartet Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1240001 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Chamber,Classical,Contest,Festival,Historic,Wedding. 35 pages. Jmsgu3 #835364. Published by jmsgu3 (A0.1240001). Vienna, 1799. Originally for Musical Clock.Instrumentation:2 Cornets (or Trumpets) in Bb1 Horn in F1 Bass TromboneBeethoven's WoO 33 originally consisted of 5 pieces, with the first three likely intended for a musical clock, while the remaining two date from around 1795 with different instrumentation. These pieces were possibly completed by 1800 for an exhibition of waxworks and musical automata displayed by Count Josef Deym. The work showcases Beethoven's versatility and creativity in composing music for unconventional instruments, reflecting his innovative approach to composition.
$47.95
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Guthrie: The Trumpet, Trombone 
