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--INSTRUMENTS--
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Between The Notes - Piano
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Crtitères actifs :
Between The Notes - Piano
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Partitions à imprimer
4 partitions trouvées
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1
Higher Ground ("I'm pressing on the upward way") — brass quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Musique Sacrée
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Charles H
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Todd Marchand
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Higher Ground
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Con Spirito Music
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,S...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,Sacred,Traditional. 16 pages. Con Spirito Music #772348. Published by Con Spirito Music (A0.1172085). Higher Ground (I'm pressing on the upward way) is a 19th-century American gospel song with lyrics by Johnson Oatman, Jr. (1856-1922) and music by Charles Hutchinson Gabriel (1856-1932).Both Oatman and Gabriel were prolific writers. Oatman, an ordained Methodist Episcopal minister employed primarily in retail and insurance work, is said to have written over 5,000 hymns and songs in the latter 30-some years of his life.  Although not a talented singer nor recognized as an outstanding preacher, he was acknowledged to have ministered to countless souls through the words of his hymns and songs.Gabriel, a Methodist Episcopal church music director and editor of gospel song books, anthem collections, music instruction manuals, and more, is said to have written between seven and eight thousand texts and/or tunes under his own name and several pseudonyms. In addition to the music for Higher Ground, he composed the music for such well-known gospel songs as His Eye is on the Sparrow and Will the Circle Be Unbroken? The opening line of Oatman’s text (I'm pressing on the upward way) draws especially from Philippians 3:13-14: “Forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the upward call of God in Christ Jesus.†Other sources include passages from the prophets Isaiah and Micah and the Psalms of Ascent (120-134). Gabriel's music cleverly evokes the upward vision of the text with an ascending arpeggio spanning an octave on the first words of the refrain (Lord, lift me up) and the matching of the highest notes of the tune to the words a higher plane.This arrangement for brass quintet expands the meter of the tune from 3/4 to 4/4 to allow for some countermelodic call-and-response by various voices in the ensemble. Every member will enjoy a lyrical part to play in this arrangement, which is fitting as a prelude, offertory, or special musical selection in worship, and ideal as a lyrical selection on recitals. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$15.00
Joy to the World — brass quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Musique Sacrée
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Lowell Mason
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Todd Marchand
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Joy to the World — brass
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Con Spirito Music
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SheetMusicPlus
Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1136166 Composed by Lowell Mason (1792-1872). Arranged by Todd Marchand. Chr...
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Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1136166 Composed by Lowell Mason (1792-1872). Arranged by Todd Marchand. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 12 pages. Con Spirito Music #736195. Published by Con Spirito Music (A0.1136166). “Joy to the World†is, perhaps, the most widely performed Christmas carol, having appeared in nearly 1800 different hymnals since its initial publication, according to hymnary.org.The text was written by the prolific English hymn-writer Isaac Watts (1674-1748) as a paraphrase of Psalm 98 and published in his Psalms of David Imitated (1719) under the heading “The Messiah's Coming and Kingdom.†The paraphrase is a Christological interpretation of the psalm — i.e., an understanding of a passage of Old Testament scripture as pointing to the Christ of the New Testament.As hymn texts and tunes were often printed separately, Watts indicated that “Joy to the World†should be sung to any Common Meter (CM) tune — a poetic meter consisting of four lines that alternate between iambic tetrameter and iambic trimeter, with each foot consisting of an unstressed syllable followed by a stressed syllable. Consider the CM tunes, “Amazing Grace†and “O Little Town of Bethlehem,†for example — both very different from the tune commonly associated with Watts’ text today.That tune was written, or at least arranged, by the American hymn-writer and music educator Lowell Mason (1792-1872) and published in The National Psalmist (Boston, 1848). Mason had published three earlier arrangements of the tune he named “ANTIOCH,†the first in 1836 and attributed as being “from Handel.†Although Mason was a great admirer and student of Handel's music, and though the first four notes of Mason's “ANTIOCH†are the same as the first four in the chorus “Lift up your heads†from Handel's Messiah, the similarity ends there.This arrangement for brass quintet features a “bell-toneâ€-like fanfare in the introduction, interlude, and ending; textural contrasts between high and low brass; and tasteful re-harmonizations of the tune in the middle and concluding verses.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$15.00
Congo Love Song
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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FACILE
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Contemporain
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Rosamund Johnson
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Bill Wilson
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Congo Love Song
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Alexander Wilson
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SheetMusicPlus
Brass Quintet - Level 2 - SKU: A0.775130 Composed by Rosamund Johnson. Arranged by Bill Wilson. 20th Century. 10 pages. Alexander Wilson #3478461. Publi...
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Brass Quintet - Level 2 - SKU: A0.775130 Composed by Rosamund Johnson. Arranged by Bill Wilson. 20th Century. 10 pages. Alexander Wilson #3478461. Published by Alexander Wilson (A0.775130). Brothers James Weldon Johnson (lyrics) and Rosamund Johnson (music) partnered to write the cute novelty song Congo Love Song. The song starts in minor, with the tuba and trombone creating a backdrop of drumbeats. It transitions to major and ends cheerfully. Melodic responsibilities are split between the trumpets and French horn. The slide work in the trombone part might seem a little daunting at first glance, but the transitions lie well and the sixteenth notes appear in small groups, making this a constructive challenge for the early trombonist. Arranged for brass quintet (two Bb trumpets, French horn, trombone, and tuba). Performance time is approximately 1:10. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.
$4.00
It Had to Be You
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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age 26 the Chicago tenor saxop
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Isham Jones
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F
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It Had to Be You
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1416368 Composed by Isham Jones. Arranged by F. Leslie Smith. Jazz,Pop,Standards,Wedding. 2...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1416368 Composed by Isham Jones. Arranged by F. Leslie Smith. Jazz,Pop,Standards,Wedding. 28 pages. Sweetwater Brass Press #997935. Published by Sweetwater Brass Press (A0.1416368). Isham Edgar Jones certainly kept busy. By age 26 the Chicago tenor saxophonist led his own dance band, and it was one of the most popular of the 1920s. But he also found time to write melodies for a whole raft of popular songs. Twenty-one Isham Jones Orchestra recordings of his compositions peaked in the top ten most popular, and eight of those made it to the number one spot. One was It Had to Be You, with words by Gus Kahn.    Although written in 1924, It Had to Be You defies the passage of time, still sounding fresh and contemporary. It remains popular and has evolved into a jazz standard.    This brass quintet version retains the original key of G Major. It opens with a suggested tempo of 104 BPM and a nine-measure introduction that combines figures and phrases from both verse and chorus. At rehearsal letter A, Trumpet 1 begins the melody of the familiar chorus, accompanied by Tuba and Horn in F. Trumpet 2 quickly joins and the melody changes to an upper brass trio. The melody then passes to Trombone, back to the trio, to Tuba and then to Horn in F. The section winds up with the original Trumpet-Horn-Tuba combination.    The seldom-heard verse begins at rehearsal letter C and takes the form of a sort of call-and-response between upper and lower brass. As the section nears its end, tempo slows to a suggested 80 BPM and Trombone begins to take over.    Rehearsal letter D marks the beginning of the chorus’ final time through, and here it is mostly Trombone handling the melody in quasi-Dixieland fashion. The upper brass trio and Tuba both help out, but, for the most part, it is Trombone all the way to the end. (Although, a good time is had by all!)    Performance time is about three minutes, fifty seconds. All notes are within the normal playing range of each instrument with the following exceptions: (1) Trumpet 1 has one or two A-above-its-staff notes, and (2) in the wrap-up near the end, Trombone has the option of playing a short phrase either (a) within its register or (b) higher, including a G above the staff.    The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. Contact him at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99
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Between The Notes - Piano