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Mike C
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116
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31
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28
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24
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4
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2
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1
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10
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5
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3
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2
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20
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9
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7
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6
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6
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4
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2
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1
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14
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11
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7
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5
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6
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2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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59
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40
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9
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CORNET
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Vous avez sélectionné:
Mike C
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Partitions à imprimer
3 partitions trouvées
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Monteverdi - The Seventh Book of Madrigals (1619) - 23. Al lume delle stelle
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Classique
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the light of the stars, Tirsi
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Seventh Book
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.767361 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score ...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.767361 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 28 pages. Lyons Music Services #3544647. Published by Lyons Music Services (A0.767361). At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts. Ai lume delle stelle is a song of loss. By the light of the stars, Tirsi bemoans the loss of his beloved whose eyes were like flickering stars or torches flickering in the night. This setting is for an expanded ensemble of 8 players as follows: Part 1 in Bb - Trumpet/Cornet 1 Part 2 in Bb - Trumpet/Cornet 2 Part 3 in F/C/Bb/Eb - Horn/Euphonium/Trombone/Baritone Part 4 in C/Eb/Bb - Euphonium/Baritone/Trombone/Tuba/Eb Bass Part 5 in Bb - Trumpet/Cornet 3 Part 6 in Bb/F/Eb - Trumpet/Cornet/Horn Part 7 in C/F/Bb - Trombone/Horn/Euphonium Part 8 in C/Eb - Tuba/Eb Bass The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.) Once again, these songs are exquisitely crafted and travel well onto brass.
$5.99
Brass Quintet - It Came Upon the Midnight Clear
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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FACILE
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Anon
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Mike Lyons
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Brass Quintet - It Came Upon t
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.767390 Composed by Anon. Arranged by Mike Lyons. Christian,Christmas. Score and parts. 15 ...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.767390 Composed by Anon. Arranged by Mike Lyons. Christian,Christmas. Score and parts. 15 pages. Lyons Music Services #3603255. Published by Lyons Music Services (A0.767390). A brand new setting of this carol for brass quintet (2 tpt,hn,trom,tuba).After a short introduction, we hear a fairly normal rendition of the tune with standard harmony. The second verse has the addition of fanfare-like motifs in the top two parts which add some sparkle to the tune. The intention is merely to heighten the feeling of 'announcement' which we get from the words. The melody is also much more decorated and placed into the middle of the ensemble.From Letter C there is an interlude of fanfares before the final verse at the grandioso. This is the loudest part of the setting and needs to sound warm, full and rich.This setting is intended to be played by any ensemble. I have kept the range used reasonable and it does not require any special techniques.
$10.99
Brass Quintet - Three Pastoral Sketches
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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Contemporain
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Mike Lyons
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Brass Quintet - Three Pastoral
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Servic...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00
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Mike C
