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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Quartet for One
Non classifié
4 408
Piano & claviers
Piano, Voix
95
Piano seul
78
Piano Quatuor: piano, 2 violons, violoncelle
68
Piano Quatuor: piano, violon, alto, violoncelle
53
Accompagnement Piano
25
Piano, Voix et Guitare
15
Piano Quintette: piano, 2 violons, alto, violoncelle
13
Piano Facile
10
Instruments en Do
10
1 Piano, 4 mains
8
Piano Trio: piano, violon, violoncelle
5
2 Pianos, 4 mains
5
Orgue
4
Accordéon
1
Clavecin
1
Orgue, Trompette (duo)
1
+ 11 instrumentations
Retracter
Guitares
4 Guitares (Quatuor)
70
Guitare
26
Guitare notes et tablatures
8
2 Guitares (duo)
5
Ukulele
3
Ensemble de guitares
3
Guitare (partie séparée)
2
Ligne De Mélodie, (Paroles) et Accords
2
Ensemble de Ukulélés
1
Dulcimer
1
Banjo
1
Piano, Guitare (duo)
1
3 Guitares (trio)
1
+ 8 instrumentations
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Voix
Chorale SATB
253
Chorale TTBB
234
Chorale SSAA
201
Chorale 3 parties
24
Chorale 2 parties
16
Chorale Unison
9
Voix duo
6
Voix Baryton, Piano
4
Voix duo, Piano
3
Voix haute
3
Male Voice
2
Chorale SSAATTBB
1
Voix seule
1
Voix Alto, Piano
1
+ 9 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
7 663
Flûte, Hautbois, Clarinette, Basson
1 147
Quatuor de Clarinettes: 4 clarinettes
934
Quatuor de Flûtes : 4 flûtes
388
Quatuor de Flûtes à bec
102
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
86
Quintette de Saxophone: 5 saxophones
67
Ensemble de saxophones
57
Saxophone
52
3 Saxophones (trio)
49
Saxophone (partie séparée)
47
Ensemble de Clarinettes
29
Flûte traversière et Piano
29
2 Flûtes traversières (duo)
25
2 Saxophones (duo)
24
Saxophone Tenor et Piano
21
Clarinette
20
Saxophone Alto et Piano
19
Clarinette et Piano
18
Hautbois, Piano (duo)
17
Flûte traversière
16
Flûte, Clarinette, Cor, Basson (Quartet)
16
Saxophone Alto
16
Saxophone Tenor
15
Ensemble De Flûte à bec
12
4 Hautbois
11
Saxophone Soprano et Piano
11
Trio de Flûtes: 3 flûtes
8
Flûte, Clarinette (duo)
8
Ensemble de Flûtes
7
Flûte et Trio à cordes
6
Quintette de Clarinettes: 5 clarinettes
6
Saxophone Baryton, Piano
6
3 Clarinettes (trio)
6
Hautbois (partie séparée)
6
2 Clarinettes (duo)
5
Clarinette, Guitare (duo)
4
Flûte et Guitare
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
4
Quintette de Clarinette: Clarinette, Quatuor à Cordes
4
Saxophone Soprano
3
Saxophone Baryton
3
Clarinette Basse, Piano
3
Hautbois, Basson (duo)
3
Cor Anglais
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Saxophone, Clarinette (duo)
2
Clarinette, Basson (duo)
2
Flûte, Hautbois, Basson
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Flûte, Violon, Violoncelle et Piano
2
Flûte, Violon et Violoncelle
2
Hautbois, Clarinette (duo)
1
Saxophone et Guitare
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, Basson, Piano (trio)
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, Flûte
1
Flûte, Violoncelle
1
Flûte, Clarinette et Basson
1
Cornemuse
1
Clarinette, Violon (duo)
1
Quintette de Flûte : 5 flûtes
1
Clarinette et Alto
1
3 Flûtes à bec (trio)
1
Flûte, Hautbois (duo)
1
Flûte, Violon
1
+ 62 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3 148
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1 544
Quatuor de Cuivres
1 153
Quatuor de cuivres: 4 trombones
1 046
Trio de Cuivres
284
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
201
Quatuor de cuivres: 4 cors
111
Quatuor de cuivres: 2 trompettes, 2 trombones
94
2 Euphoniums et 2 Tubas
56
Trompette, Trombone (duo)
54
Trombone (partie séparée)
53
Trombone
52
4 Tubas
43
Trombone et Piano
41
Quatuor de cuivres: 4 trompettes
40
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
37
Ensemble de Trompettes
27
Ensemble de Trombones
19
Trompette
16
Cor
12
2 Trombones (duo)
9
3 Trombones (trio)
8
Ensemble de Cors
7
Trompette (partie séparée)
6
Cor et Piano
5
Trombone basse
5
Tuba
5
Euphonium
4
Trombone, Tuba (duo)
4
2 Trompettes (duo)
4
Trombone basse et Piano
3
Trompette, Piano
3
Cor Anglais
2
Euphonium, Tuba (duo)
2
3 Trompettes (trio)
2
2 Tubas (duo)
2
Instruments en Sib
1
Tuba (partie séparée)
1
Euphonium, Piano (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Trombone, Orgue
1
Tuba et Piano
1
Cor, Trompette, Trombone (trio)
1
2 Trompettes, Clavier (piano ou orgue)
1
2 Cors (duo)
1
Trombone, Cor (duo)
1
Ensemble de Tubas
1
+ 42 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
3 556
Violon, Violoncelle (duo)
237
Trio à Cordes: violon, alto, violoncelle
237
Violon
204
4 Violoncelles
108
Quintette à cordes: 2 violons, alto, violoncelle, basse
91
Quatuor à cordes: 4 violons
40
Quatuor à cordes : 4 altos
37
Violon et Piano
27
Alto seul
24
Violoncelle
23
2 Violons (duo)
22
Violon, Alto (duo)
20
Violoncelle, Piano
17
Alto, Violoncelle (duo)
15
Contre Basse
12
Trio à Cordes: 2 violons, violoncelle
9
2 Violoncelles (duo)
8
Alto (partie séparée)
8
Alto, Piano
8
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Harpe
6
4 Contrebasses
6
2 Altos (duo)
5
Trio à Cordes: 3 violoncelles
4
Violon (partie séparée)
3
Alto, Guitare (duo)
2
Contrebasse, Piano (duo)
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle, Contrebasse (duo)
2
2 Harpes (duo)
2
Violoncelle (partie séparée)
2
Trio à Cordes: 2 violons, alto
2
Ensemble de Violoncelles
2
Violoncelle , Guitare (duo)
1
Violoncelle, Orchestre
1
Ensemble de Violons
1
Harpe, Quatuor à cordes
1
Harpe, Violoncelle (duo)
1
Trio à cordes: 3 violins
1
+ 35 instrumentations
Retracter
Orchestre & Percussions
Ensemble de cuivres
513
Orchestre à Cordes
191
Orchestre de chambre
110
Orchestre d'harmonie
73
Ensemble Jazz
47
Orchestre
42
Ensemble de Percussions
27
Jazz combo
23
Cloches
8
Fanfare
6
Quatuor à Vent : 4 instruments à vents
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Vibraphone
2
Instrumentation Flexible
2
Vibraphone et Marimba
1
Orchestre, Violon
1
Batterie
1
Marimba
1
+ 13 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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4 408 partitions trouvées
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4401
Beethoven: Adagio from Sonata Pathetique for Baritone Horn & Piano
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Classique
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Ludwig van Beethoven
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James M
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piano concertos 1-5
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Beethoven: Adagio from Sonata
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 3 - SKU: A0.552860 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional...
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Baritone Horn TC,Euphonium,Piano - Level 3 - SKU: A0.552860 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516929. Published by jmsgu3 (A0.552860). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes.Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano.
$24.95
Donut Etudes vol. 3: Don’t Step in the Holes! – Trombone, Euphonium, or Baritone Quartet
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Small Ensemble Trombone/Baritone B.C. - Level 3 - SKU: A0.784336 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #528866...
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Small Ensemble Trombone/Baritone B.C. - Level 3 - SKU: A0.784336 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288665. Published by Slide Ride (A0.784336). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
Donut Etudes vol. 3: Don’t Step in the Holes! – Trumpet Quartet (or Baritone T.C.)
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.784334 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288661. Published by Slide R...
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Small Ensemble - Level 3 - SKU: A0.784334 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288661. Published by Slide Ride (A0.784334). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (Tuba/Euphonium)
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Methodes
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Joshua Hauser
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#
Donut Etudes vol. 3: Don&rsquo
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Slide Ride
#
SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.784348 Composed by Joshua Hauser. Instructional. Score and parts. 74 pages. Slide Ride #5288731. Published by Slide R...
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Small Ensemble - Level 3 - SKU: A0.784348 Composed by Joshua Hauser. Instructional. Score and parts. 74 pages. Slide Ride #5288731. Published by Slide Ride (A0.784348). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instrumentsIf this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$7.50
Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Quartet
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Small Ensemble Double Bass - Level 3 - SKU: A0.784342 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288689. Publishe...
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Small Ensemble Double Bass - Level 3 - SKU: A0.784342 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288689. Published by Slide Ride (A0.784342). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
Flute Quartet in F major, Op.7 No.1 (Weinmann Vb: F1)
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Classique
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Johann Baptist Wanhal
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Uwe Grodd
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Flute Quartet in F major, Op.7
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Artaria Editions
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SheetMusicPlus
Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #10...
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Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #1065122. Published by Artaria Editions (A0.1488235). Artaria Editions AE379 The flute writing in Wanhal's quartets is a good deal less virtuosic than the solo writing found in Hofmann's quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal's quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal's adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer's symphonies. In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page Six Quartettes for a / Hautboy or German Flute whereas Sieber styled them Six Quartetto Concertante / Pour une Flute au Hautbois. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty's imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year - it was announced on 28 January 1772 - and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies.In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber's text. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets. Paul Bryan, Uwe Grodd
$53.00
Donut Etudes v5 - Scale Duets for 2 Euphoniums or Baritones in Treble Clef
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Methodes
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Joshua Hauser
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Donut Etudes v5 - Scale Duets
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Slide Ride
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SheetMusicPlus
Instrumental Duet Euphonium,Instrumental Duet - SKU: A0.784315 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570015....
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Instrumental Duet Euphonium,Instrumental Duet - SKU: A0.784315 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570015. Published by Slide Ride (A0.784315).  If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!  The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!  I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.  As with those exercises, you can vary these as much as you’d like. • Choose a tempo • Choose a dynamic. • Choose an articulation/style.  One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.  Practice one key, gradually speeding it up to improve fluidity or choose a variation and take it through all keys, playing version A, B, C, or D then skipping 5 lines to play the same set in a new key.  If you want an additional challenge in terms of range, play them in different octaves to expand the set.  Additionally, you can change the Key. Play them in f minor (all forms), different modes, etc. For jazz players, try swinging them in dorian or mixolydian modes.  The variations are endless!  All Donut Etudes with the same version number are compatible so you can play them in mixed duets with one person on part 1 and a different instrument on part 2.  Enjoy!
$10.00
Donut Etudes v5 - Scale Duets for 2 Trombones in Bb/F, 2 Euphoniums in Bass Clef, or 2 Bassoons
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Methodes
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Joshua Hauser
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Donut Etudes v5 - Scale Duets
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Slide Ride
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SheetMusicPlus
Instrumental Duet Bassoon,Euphonium,Instrumental Duet,Trombone - SKU: A0.784312 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Sli...
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Instrumental Duet Bassoon,Euphonium,Instrumental Duet,Trombone - SKU: A0.784312 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570005. Published by Slide Ride (A0.784312).  If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!  The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes! I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.  As with those exercises, you can vary these as much as you’d like.• Choose a tempo• Choose a dynamic. • Choose an articulation/style.  One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.  Practice one key, gradually speeding it up to improve fluidity or choose a variation and take it through all keys, playing version A, B, C, or D then skipping 5 lines to play the same set in a new key.  If you want an additional challenge in terms of range, play them in different octaves or change the clef and key signature to expand the set. For example, if you play the F Major example in Tenor Clef, change the key signature to C Major and you have a version that is based an octave higher than the C Major version as written later. Additionally, you can change the Key. Play them in f minor (all forms), different modes, etc. For jazz players, try swinging them in dorian or mixolydian modes.  The variations are endless!  All Donut Etudes with the same version number are compatible so you can play them in mixed duets with one person on part 1 and a different instrument on part 2.  Enjoy!
$10.00
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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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
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 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 in 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
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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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
Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Publishe...
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Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. 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 in rather more 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 which 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 by 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. www.jamesguthrie.com.
$47.95
Beethoven: Adagio from Sonata Pathetique for Bass Flute & Piano
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Classique
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Ludwig van Beethoven
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James M
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piano concertos 1-5
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Beethoven: Adagio from Sonata
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549644 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instruction...
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Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549644 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 16 pages. Jmsgu3 #3516861. Published by jmsgu3 (A0.549644). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes. Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$24.95
Beethoven: Adagio from Sonata Pathetique for Oboe d'Amore & Piano
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Classique
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Ludwig van Beethoven
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James M
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piano concertos 1-5
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Beethoven: Adagio from Sonata
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jmsgu3
#
SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549645 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructi...
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549645 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 16 pages. Jmsgu3 #3516867. Published by jmsgu3 (A0.549645). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes. Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$24.95
Drei Equali (Three Equale) for four Trombones
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Classique
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Ludwig van Beethoven
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David Mathie
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Drei Equali
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792438 Composed by Ludwig van Beethoven. Arranged by David Mathie. 20th Century,Classical,Romantic Period. S...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792438 Composed by Ludwig van Beethoven. Arranged by David Mathie. 20th Century,Classical,Romantic Period. Score and parts. 26 pages. Gordon Cherry #4821671. Published by Gordon Cherry (A0.792438). Equali were works written for equal, or similar, instruments; in the eighteenth century they were almost always used for funeral services and usually employed a quartet of trombones. The most famous of these were the three Beethoven wrote for the Linz Cathedral in Austria on All Soul’s Day 1812. Two of these were adapted later for male voices and were sung at Beethoven’s funeral. These pieces are some of the most famous works for trombones, no doubt due to the fact that they were composed by Beethoven. They were commissioned by Franz Xaver Glöggl, Kappelmeister of the city of Linz, while Beethoven was visiting his brother. According to later accounts by Glöggl’s son, although his father had a complete collection of trombones (soprano, alto, tenor, bass or quart) the three Equali were performed by a traditional quartet of alto, tenor and bass trombones. This edition offers a compromise: the original score and parts are given exactly as written in the complete works, and a version designed for the less experienced players: the three movements are transposed down one step, edited with minor musical suggestions, and all four parts are written in bass clef. Dr. Mathie has done the Trombone world a great service in bringing this great work in its two forms to publication.
$20.00
Fanfares and Finales for Congregational Singing - Brass and Timpani Parts
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Lani Smith
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Fanfares and Finales for Congr
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Sacred Music Press
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SheetMusicPlus
2 trumpets and 2 trombones SKU: LO.30-2148S Vibrant Accompaniments for the Church Year for Organ, Brass Quartet and opt. Timpani. Composed by Lani...
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2 trumpets and 2 trombones SKU: LO.30-2148S Vibrant Accompaniments for the Church Year for Organ, Brass Quartet and opt. Timpani. Composed by Lani Smith. Sacred, Christmas, Eastertide, General, Pentecost, Patriotic, Reformation, Thanksgiving. Brass and timpani parts. Sacred Music Press #30/2148S. Published by Sacred Music Press (LO.30-2148S). UPC: 000308109344.This set of brass and timpani parts can be paired with the collection Fanfares & Finales for Congregational Singing (70/1542S). The compelling collection of festive hymn arrangements for organ, brass, and optional timpani was designed for one reason: to accompany your congregation in spirited praise! Each of the seven exciting settings are flexible, in that they can be utilized as flashy introductory fanfares with only the instruments, they can be adapted to subtly accompany one or two sung verses, or they can top off a boisterous final stanza with your choir and congregation.
Song List
: O Beautiful for Spacious Skies Come Ye Thankful People Come A Mighty Fortress Is Our God The Strife Is O'er Hark the Herald Angels Sing Holy Holy Holy Holy Spirit Truth Divine
$39.95
Fanfares and Finales for Congregational Singing
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Lani Smith
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Fanfares and Finales for Congr
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Sacred Music Press
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SheetMusicPlus
Organ (3-staff), 2 trumpets, 2 trombones - Moderately Easy SKU: LO.70-1542S Vibrant Accompaniments for the Church Year for Organ, Brass Quartet and op...
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Organ (3-staff), 2 trumpets, 2 trombones - Moderately Easy SKU: LO.70-1542S Vibrant Accompaniments for the Church Year for Organ, Brass Quartet and opt. Timpani. Composed by Lani Smith. Sacred, Christmas, Eastertide, General, Pentecost, Patriotic, Reformation, Thanksgiving. Sacred Music Press #70/1542S. Published by Sacred Music Press (LO.70-1542S). UPC: 000308109337.This compelling collection of festive hymn arrangements for organ, brass, and optional timpani was designed for one reason: to accompany your congregation in spirited praise! Each of these seven exciting settings are flexible, in that they can be utilized as flashy introductory fanfares with only the instruments, they can be adapted to subtly accompany one or two sung verses, or they can top off a boisterous final stanza with your choir and congregation.
Song List
: O Beautiful for Spacious Skies Come Ye Thankful People Come A Mighty Fortress Is Our God The Strife Is O'er Hark the Herald Angels Sing Holy Holy Holy Holy Spirit Truth Divine
$33.00
Alle Jahre wieder (every year again) for family band
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Friedrich Silcher, Wilhelm Hey
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Sophia Transistor
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Alle Jahre wieder
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Sophia Transistor
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussio...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Harmonica,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba,Viola,Violin,Voice - Level 1 - SKU: A0.851141 Composed by Friedrich Silcher, Wilhelm Hey. Arranged by Sophia Transistor. Children,Christian,Christmas,World. Score and parts. 14 pages. Sophia Transistor #6624487. Published by Sophia Transistor (A0.851141). Year after year, the whole family comes together and eventually tries to perform Christmas songs on the fly.This arrangement of the german traditional Alle Jahre wieder kommt das Christuskind = Every Year Again, baby Jesus comes back offers several parts for many variable instruments in their specific notation forms. The voices can be combined ad libitum. The score also offers decent vocal scores with the original german lyrics and also english lyrics.The score includes the following parts:- Piano (easy piano, voicings, chord symbols and melody)- vocals (in english and in german); 5 verses for each language- solo instruments in C (violin, flute, etc.); quartet- solo instruments in alto key (viola, alto-trombone, etc.); quartet- solo instruments in Bb (trumpet, clarinet, tenor saxophone, etc.); quartet- solo instruments in bass clef (trombone, cello, bass, etc.); quartet- solo instruments in Eb (alto saxophone, Eb-clarinet, etc.); quartet- solo instruments in F (french horn, F-tuba, etc.); quartet- guitar (notation and TABs)- accordion / harmonica / squeeze box- drums / PercussionType and font sizes have been maximized to support older, elder and farsighted readers in soft candle light situations.So: easy to read even in poor visibility.This arrangement has been optimized for on the fly performances during Christmas time. The constitution of instruments (rhythm and solo instruments (also in transposing scores)) can be put together ad libitum. All parts are matching, can be combined or played alone.YouTube Playalong: https://youtu.be/6evAo392soo German description (Beschreibung auf Deutsch):Alle Jahre wieder wird mit der Familie zusammen Weihnachten gefeiert. Lasst uns doch was zusammen spielen! Na klar, hast du Noten? Ja hier, für Keyboard... hm, für mich passen die nicht...Dieses Arrangement des Weihnachtsklassikers Alle Jahre wieder kommt das CHristuskind beinhaltet Noten für die gängigsten Hausinstrumente. Alle Stimmen können miteinander kombiniert werden. Die Gesangsnoten sind vernünftig notiert und den Liedtext gibt es auf Englisch und auf Deutsch. Folgende Musikinstrumente werden durch diese Noten abgedeckt; die Partitur enthält folgende Auszüge:- Klavier (leichte, mittlere Begleitung, Intonationsvorschläge, Akkordsymbole und Melodie)- Gesang (auf Englisch und auf Deutsch); jeweils 5 Strophen- Soloinstrumente in C (Geige, Flöte, etc.); Quartett- Soloinstrumente in Altschlüssel (Bratsche, Altposaune, etc.); Quartett- Soloinstrumente in Bb (Trompete, Klarinette, Tenorsaxofon, etc.); Quartett- Soloinstrumente mit Bassschlüssel (Posaune, Cello, Bass, etc.); Quartett- Soloinstrumente in Eb (Altsaxofon, Eb-Klarinette, etc.); Quartett- Soloinstrumente in F (Waldhorn, F-Tuba, etc.); Quartett- Gitarre (Noten und TABS)- Akkordeon / Harmonika / Schifferklavier- Schlagzeug / PerkussionSchriftgrößen wurden maximiert, um ältere und weitsichtige Notentextleser in schlecht ausgeleuchteten Situationen mit sanftem Kerzenlicht zu unterstützen.Also: Gut lesbar auch bei schlechten Sichtverhältnissen.Dieses Arrangement wurde für On-the-Fly-Auftritte während der Weihnachtszeit optimiert.Die Besetzung der Instrumente (Rhythmus- und Soloinstrumente (auch in transponierenden Partituren)) kann nach Belieben zusammengestellt werden.Alle Teile sind aufeinander abgestimmt, können kombiniert oder alleine gespielt werden.Viel Spaß beim Ausprobieren!
$4.99
10 Easy Christmas Tunes - Trombone/Euphonium Quartet (score )
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Noël
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Adolphe-Charles Adam, Benjam
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Francesco Leone
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10 Easy Christmas Tunes - Trom
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Glissato Edizioni Musicali
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SheetMusicPlus
Composed by Adolphe-Charles Adam, Benjamin Russell Hanby, John Henry Hopkins Jr., and Louis H. Redner. Arranged by Francesco Leone. Christian,Christma...
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Composed by Adolphe-Charles Adam, Benjamin Russell Hanby, John Henry Hopkins Jr., and Louis H. Redner. Arranged by Francesco Leone. Christian,Christmas,Concert,Sa cred,Spiritual. Score and parts. 29 pages. Glissato Edizioni Musicali #6620531. Published by Glissato Edizioni Musicali
10 Easy Christmas Tunes arranged for Trombone or Euphonium Quartet. Score - Comfortable range and keys. dur.13.00
contents: 1.Go Tell it on the Mountain 2.God Rest Ye Merry,Gentlemen 3.In dulci Jubilo 4.O Christmas Tree 5.O Holy Night 6.O Little Town of Bethlehem 7.Over the river and through the woods 8.The Twelve Days of Christmas 9.Up on the Housetop 10.We Thee Kings of Orient Are.
$9.99
Sgt. Pepper's Lonely Hearts Club Band
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Rock
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The Beatles
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Ray Thompson
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Sgt. Pepper's Lonely Hearts Cl
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RayThompsonMusic
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SheetMusicPlus
Brass Ensemble,Brass Quartet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.789164 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Th...
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Brass Ensemble,Brass Quartet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.789164 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Thompson. 20th Century,Pop,Rock. Score and parts. 9 pages. RayThompsonMusic #396437. Published by RayThompsonMusic (A0.789164). Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. This is my arrangement of the opening number.for standard brass quartet: 2 tpts, tbn and tuba. Alt horn in F part for tbn. I have transposed from the original key of G to Eb to aid the brass players.. I have created a new ending for those brass quartets who wish to play the piece on it;s own, but also included the oruginal fade away ending which seques into the next track...with a little help.
$14.99
Three Shakespeare Choruses for Trombone Quartet
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Amy Marcy Beach
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Richard Decker
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Three Shakespeare Choruses for
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Charles Decker Music Press
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SheetMusicPlus
Brass Ensemble,Trombone Ensemble Trombone - Level 3 - SKU: A0.1505303 Composed by Amy Marcy Beach. Arranged by Richard Decker. 20th Century,Chamber,Cont...
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Brass Ensemble,Trombone Ensemble Trombone - Level 3 - SKU: A0.1505303 Composed by Amy Marcy Beach. Arranged by Richard Decker. 20th Century,Chamber,Contest,Festival,Multicultural,World. 31 pages. Charles Decker Music Press #1080687. Published by Charles Decker Music Press (A0.1505303). Acclaimed pianist and child prodigy, Amy Beach (1867-1944) was one of America's first female composers to have her orchestral compositions published and performed by symphony orchestras in the United States and Europe. Her compositions also included numerous solo vocal and choral works including this set of Three Shakespeare Choruses scored for the elegant-sounding ensemble of four trombones. The recording is of the entire edition.Her First Symphony Gaelic was premiered by the Boston Symphony in 1896. She was a member of the Boston Group of early American notable composers in the late 19th century and early 20th century which included John Knowles Paine, Arthur Foote, George Chadwick, Edward MacDowell, George Whiting and Horatio Parker.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Use this link Music of Black Composers arrangements for Brass Ensembles at Charles Decker Music Press to see works by Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still and Florence Price. More brass ensemble arrangements of music by prominent Black composers at Charles Decker Music Press include Will Marion Cook Swing Along!, James Reese Europe Clef Club March, James P. Johnson The Charleston, Fred Stone My Ragtime Baby, Justin Elie Tropical Dance #2, Jose White La Bella Cubana, William Dawson Ain’a That Good News. Use this link Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$13.95
Rondo Alla Turca (Turkish March) | Sax Quartet (w/ piano)
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Classique
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Wolfgang Amadeus Mozart
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Benzaiten Editions
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Rondo Alla Turca
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Benzaiten Editions
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Piano Accompaniment,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1283780 Composed by Wolfgang Amadeus Mozart....
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Alto Saxophone,Baritone Saxophone,Piano Accompaniment,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1283780 Composed by Wolfgang Amadeus Mozart. Arranged by Benzaiten Editions. 19th Century,Chamber,Classical,Multicultural,World. 21 pages. Benzaiten Editions #874971. Published by Benzaiten Editions (A0.1283780). Hey! Are you a sax player who wants to learn how to play Rondo Alla Turca (Turkish March) by Mozart? It's your lucky day! 🎵Rondo Alla Turca (Turkish March) - Sax Quartet Sheet Music with piano The Benzaiten Editions Sax Quartet Arrangement Embark on a musical journey to the exotic and lively world of Mozart's Rondo Alla Turca with our captivating saxophone quartet sheet music! This vibrant and spirited piece, also known as the Turkish March, is a delightful showcase of Mozart's genius and is sure to enchant both players and audiences alike. Our arrangement of Rondo Alla Turca for sax quartet brings out the playful and energetic nature of the composition while maintaining the grandeur of Mozart's original work. The interplay of violins, viola, and cello creates a harmonious tapestry of sound that captures the essence of this famous march. Perfect for saxophone quartets seeking to explore classical masterpieces or add a touch of excitement to their repertoire, our sheet music strikes a balance between accessibility and musicality. About Turkish March Rondo Alla Turca is the exhilarating final movement from Mozart's Piano Sonata No. 11, often referred to as the Turkish March. The piece exudes a sense of adventure and flair, evoking images of the lively and exotic sounds of Turkey. Mozart's intricate melodies and rhythmic patterns showcase his unparalleled compositional skill, making this march a true gem of classical music. As you and your sax quartet perform Rondo Alla Turca, you'll whisk your listeners away to a world of vivacious dance and sparkling melodies. The quartet's collective artistry will breathe new life into this timeless composition, transporting audiences to the heart of Mozart's musical genius. Whether you're a seasoned quartet seeking to dazzle your audience or simply passionate about exploring classical treasures, Rondo Alla Turca offers an unforgettable musical experience that will leave a lasting impression. Embark on a musical adventure with our captivating saxophone quartet sheet music for Mozart's Rondo Alla Turca and bring the excitement and brilliance of this Turkish March to life like never before. Get ready to delight and thrill your audience with the effervescent charm of Mozart's genius!
$12.99
Saxophone Symphony
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G
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Saxophone Symphony
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Rubank Publications
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SheetMusicPlus
Saxophone (2 Altos, Tenor, Baritone) Saxophone Ensemble; Saxophone Quartet SKU: HL.4475323 For Saxophone Quartet or Ensemble. Edited by G. E. Holm...
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Saxophone (2 Altos, Tenor, Baritone) Saxophone Ensemble; Saxophone Quartet SKU: HL.4475323 For Saxophone Quartet or Ensemble. Edited by G. E. Holmes. Arranged by G. E. Holmes. Ensemble Collection. Classical. 24 pages. Rubank Publications #RUBL225. Published by Rubank Publications (HL.4475323). UPC: 073999672275. 9.0x12.0x0.106 inches.The medium level quartets of Rubank's Symphony Series are specially adapted for each instrument and are excellent for contest or class ensemble work, and in fact, selections from all six editions appear on several state contest lists. Superb repertoire for developing players!
Song List
: Andante Finlandia Ballet Music - Rosamunde Minuet (Mozart) Andante (Haydn) Quartet (Rigoletto) Verdi March Theme (Saint-Saens) Country Gardens Home On The Range
$7.99
Quartet Repertoire for Trombone
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Quartet Repertoire for Trombon
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Rubank Publications
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SheetMusicPlus
Trombone Quartet SKU: HL.4473910 1st Trombone. Ensemble Collection. 16 pages. Published by Rubank Publications (HL.4473910). UPC: 073999739107....
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Trombone Quartet SKU: HL.4473910 1st Trombone. Ensemble Collection. 16 pages. Published by Rubank Publications (HL.4473910). UPC: 073999739107. 9.0x12.0x0.072 inches.This great collection of grade 3 music for trombone quartet appears on most state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The fourteen works in this series include classics as well as contemporary pieces by the original Rubank composers. A must for your school or church library.
Song List
: Caro mio ben The Lonesome Road Octopus Ballet Harlequins (Tcherepnine) Canzonetta (Parry) Cragged Pass (C.W.Johnson) Equale #3 (Mendelssohn) Greenwood (C.W.Johnson) Hunting Song (Dieterich) Jamboree (Koepke) Light Fantastic (Cofield) Scherzo Caprice (Koepke) Chorale & March (Ostransky) Sit Down, Sister My Lord, What A Morning Where E'er You Walk Caro Mio Ben
$5.99
Quartet Repertoire for Trombone
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Quartet Repertoire for Trombon
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Rubank Publications
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SheetMusicPlus
Trombone Quartet SKU: HL.4473960 Full Score. Ensemble Collection. 52 pages. Published by Rubank Publications (HL.4473960). UPC: 073999849202. 9...
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Trombone Quartet SKU: HL.4473960 Full Score. Ensemble Collection. 52 pages. Published by Rubank Publications (HL.4473960). UPC: 073999849202. 9.0x12.0x0.142 inches.This great collection of grade 3 music for trombone quartet appears on most state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The fourteen works in this series include classics as well as contemporary pieces by the original Rubank composers. A must for your school or church library.
Song List
: Caro mio ben The Lonesome Road Octopus Ballet Harlequins (Tcherepnine) Canzonetta (Parry) Cragged Pass (C.W.Johnson) Equale #3 (Mendelssohn) Greenwood (C.W.Johnson) Hunting Song (Dieterich) Jamboree (Koepke) Light Fantastic (Cofield) Scherzo Caprice (Koepke) Chorale & March (Ostransky) Sit Down, Sister My Lord, What A Morning Where E'er You Walk Caro Mio Ben
$9.99
16 Favourite Easter Hymns for Double Reed Quartet, two Oboes, Cor Anglais and Bassoon
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Musique Sacrée
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Various
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David McKeown
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.587861 Composed by Various. Arranged by David McKeown. Christian,Easter...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.587861 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031037. Published by David McKeown (A0.587861). 16 Favourite Easter Hymns for Double Reed Quartet is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for two Oboes, one Cor Anglais/English Horn and one Bassoon. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns (the Saxophone Quartet version), via the youtube link above. 16 Favourite Easter Hymns for Double Reed Quartet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Double Reed Quartet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
4 x 2 x 1 Bass Trombone Solo with Double Trombone Quartet
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Jim Pugh
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4 x 2 x 1 Bass Trombone Solo w
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.811134 Composed by Jim Pugh. 20th Century,Contemporary,Jazz. Score and parts. 43 pages. Gordon Cherry #53376...
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Brass Ensemble Trombone - Level 5 - SKU: A0.811134 Composed by Jim Pugh. 20th Century,Contemporary,Jazz. Score and parts. 43 pages. Gordon Cherry #5337657. Published by Gordon Cherry (A0.811134). Jim Pugh's 4 x 2 x 1 is written for Bass Trombone solo with a double Trombone Quartet accompaniment. It is appropriate for advanced performers and is about 8 1/2 minutes in length. Here is what Jim Pugh says about his composition 4 x 2 x 1: Dave Taylor and I have had a long musical association going back to my first recording sessions with him in New York in 1976 and continuing for 30+ years, including, among many things, two Pugh/Taylor Project recordings. When Dave was putting together the 1999 Manhattan School of Music Trombone Day, he asked me to write a piece featuring him along with his invited guest artists, the Four Of A Kind Trombone Quartet and the Vienna Trombone Quartet – hence the title: 4 (quartet) x 2 (two of them) x 1 (1 soloist). I enjoyed the opportunity to feature not only the bass trombone but, at times, the bass trombone trio that the orchestration provides. The piece is loosely in Rondo form. After an initial statement of the Theme, there follows three unrelated Vignettes separated by variations on the original Theme. A brief GP introduces an improvisation from the bass trombone soloist leading to the final statement of the Theme. The score reflects the correct positioning of the players, left to right, with the two quartet bass trombones on either end of the group and the two first tenor players in the middle, flanking the bass trombone soloist. A little aside here, the tenor trombone solo beginning in measure 77 was specifically written for another dear friend, colleague and collaborator, Joe Alessi. It was a great thrill and honor to have been asked to write music for not only Dave but also two of the best trombone quartets in existence at that time, knowing that anything I wrote would be so beautifully performed. This piece was recorded on the Signum Records CD: The Graham Ashton Brass Ensemble Plays The Music of James Pugh and Daniel Schnyder.
$35.00
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