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Teri: 3rd Trombone
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Vous avez sélectionné:
Teri: 3rd Trombone
Partitions à imprimer
4 partitions trouvées
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Overture “A Midsummer Night's Dream” Op. 21 for Brass Ensemble
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Classique
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Felix Bartholdy Mendelssohn
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Shinya Ishida
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Overture “A Midsummer Ni
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BitNotes.jp
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SheetMusicPlus
Brass Ensemble Bass Trombone,Euphonium,Horn,Piccolo Trumpet,Tuba - Level 4 - SKU: A0.1292240 Composed by Felix Bartholdy Mendelssohn. Arranged by Shinya...
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Brass Ensemble Bass Trombone,Euphonium,Horn,Piccolo Trumpet,Tuba - Level 4 - SKU: A0.1292240 Composed by Felix Bartholdy Mendelssohn. Arranged by Shinya Ishida. 19th Century. Score and Parts. 19 pages. BitNotes.jp #882854. Published by BitNotes.jp (A0.1292240). The Overture A Midsummer Night's Dream is originally composed by the German composer Felix Mendelssohn, who was inspired by reading William Shakespeare's play A Midsummer Night's Dream. It was initially created as a piano piece for duet, intended for enjoyment with his sister Fanny. Notably, Mendelssohn himself later arranged it for orchestra in 1826 when he was just 17 years old.Fast forward 16 years, this piece took an unconventional path to composition. It was commissioned by King Wilhelm IV of Prussia at the time, and the overture became part of a larger work known as Incidental Music, where it was accompanied by other pieces, apart from the overture.The Overture A Midsummer Night's Dream begins with four chords that evoke a gentle breeze, as if beckoning you into the world of fairies, in line with the folklore that claims that on the eve of Midsummer (Walpurgis Night), fairies and witches gather for revelry. It then transitions into the theme of the fairy's fluttering wings, followed by the music of the Fairy King's palace, the lovers' theme, and passages for clowns and hunting scenes. Finally, it returns to the fairies, dancing and disappearing as if carried away by the wind.We have arranged this enchanting piece for a brass ensemble, featuring ten players (3 trumpets, 3 horns, 3 trombones, and 1 tuba). The 1st Trumpet part includes an optional switch to Piccolo Trumpet, but this is purely optional and not mandatory to perform the arrangement.Additionally, please note that the 3rd Trombone part is intended for the Bass Trombone but can also be performed using Euphonium or Tenor Bass Trombone.
$12.00
Program Repertoire for Brass Quartet
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Program Repertoire for Brass Q
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Rubank Publications
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SheetMusicPlus
3rd Part (1st Trombone) Brass Quartet SKU: HL.4474150 Trombone (Third Part). Ensemble Collection. Classical, Contest. 16 pages. Published by Ruban...
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3rd Part (1st Trombone) Brass Quartet SKU: HL.4474150 Trombone (Third Part). Ensemble Collection. Classical, Contest. 16 pages. Published by Rubank Publications (HL.4474150). ISBN 9798350106893. UPC: 073999741506. 9.0x12.0x0.114 inches.Scored for 1st and 2nd cornet/trumpet, F horn or trombone (third part), and trombone or baritone (fourth part) This great collection of grade 2-3 music for brass quartet appears on many state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The fifteen 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
: Song Of The Sea Toreador Song Sarabande Variata (Handel) An Autumn Story (Koepke) Andante & Menuetto Fanfare March (Shelukov) I Am Alone (Massenet-Irons) Interlude Latinette (H.Walters) Pomp & Panoply (Koepke) Prelude & Scherzo (Ostransky) Rondo Humoreske (M.Dieterich) Sonatina #6 (Forestier-Johnson) Two Equali (Beethoven-Beeler)
$6.99
Suite From Mulan
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Film/TV
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David Zippel, Jerry Goldsmith,
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Adrian Horn
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Suite From Mulan
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AJH Brass
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.1400028 Composed by David Zippel, Jerry Goldsmith, and Matthew Wilder. Arranged by Adrian Horn. Film/TV. Brass Band. 76 pages. AJH Brass #983257. Published by AJH Brass (A0.1400028). Disney’s Mulan (1998) was a return to Disney’s tried and tested method of having a broadway composer work on the film’s songs and a more ‘serious’ composer to take on the score. Jerry Goldsmith took on this role, with his bold score using very little material from the songs, however he did incorporate some of their ideas into this suite giving a great taste of the Oscar nominated score. This arrangement has been crafted for British style Brass Band by Adrian Horn.PDF includes:Full ScoreEb Soprano CornetSolo Bb CornetsRepiano Bb Cornet2nd Bb Cornets3rd Bb CornetsFlugel HornSolo Eb Tenor Horn1st Eb Tenor Horn2nd Eb Tenor Horn1st Bb Baritone2nd Bb Baritone1st Bb Trombone2nd Bb TromboneBass Trombone (C)Bb EuphoniumsEb BassesBBb BassesPercussion 1Percussion 2
$24.99
Pitch Only - Bass Clef (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Pian...
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00
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Teri: 3rd Trombone
