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Sonata for Tuba or Bass Trombone
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Vous avez sélectionné:
Sonata for Tuba or Bass Trombone
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4 partitions trouvées
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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
Interplay for Bassoon/Trombone/Euphonium, Tuba/Bass Clarinet and Piano
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Contemporain
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Sy Brandon
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Interplay for Bassoon/Trombone
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Sy Brandon
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Euphonium,Piano Accompaniment,Trombone,Tuba - Level 4 - SKU: A0.755131 Composed by Sy Brandon. 20th Century,Contemporary...
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Small Ensemble Bassoon,Clarinet,Euphonium,Piano Accompaniment,Trombone,Tuba - Level 4 - SKU: A0.755131 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 86 pages. Sy Brandon #3399593. Published by Sy Brandon (A0.755131). Interplay was composed for the Maxwell Trio, an ensemble consisting of Kansas State University faculty members with the unusual combination of instruments of bassoon, tuba, and piano. It was premiered at the 2013 International Double Reed Society Conference. The composition can be performed with trombone or euphonium substituting for the bassoon and bass clarinet substituting for the tuba (parts are provided). The title of this three-movement work was derived from the large use of counterpoint throughout the composition. The first movement is in a quasi sonata form. The second movement is in an ABA form. The middle section of this movement uses an ostinato to accompany the melodic interplay. The last movement is lighter than the first two movements and utilizes a loose rondo form. Its allegro tempo and frequent meter changes add a humorous quality. The interplay in this movement relies less on counterpoint. Instead, the shifting of colors through alternating the melodic material among the three instruments creates interplay between sections within the rondo form.
$14.99
Danse Nègre from African Suite. Op. 35 for Brass Choir
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Samuel Coleridge-Taylor
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Richard Decker
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Danse Nègre from Africa
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Charles Decker Music Press
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SheetMusicPlus
Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 4 - SKU: A0.1047096 Composed by Samuel Coleridge-Taylor. Arranged by Richard ...
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Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 4 - SKU: A0.1047096 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Contest,Festival,Multicultural,World. 80 pages. Charles Decker Music Press #651613. Published by Charles Decker Music Press (A0.1047096). This brilliant brass choir arrangement captures the excitement of the composer’s orchestral showpiece Danse Nègre from his African Suite, Op. 35. Born of an African father, Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. The five-minute arrangement is scored for four B-flat trumpets (1st trumpet doubles on piccolo B-flat; trumpets 3 and 4 double on flugelhorn), 4 horns, 3 trombones, euphonium and tuba with brass orchestration that mirrors the texture and excitement of Coleridge-Taylor's orchestral work to inspire performers and excite audiences. Consider this impressive arrangement to feature your band or orchestra brass section on your next concert. The recording is of the entire arrangement. “The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!† Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. 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. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to 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.
$28.99
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
#
James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. 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
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Sonata for Tuba or Bass Trombone 
