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Happy - String Trio
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ALTO
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Vous avez sélectionné:
Happy - String Trio
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Partitions à imprimer
5 partitions trouvées
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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
Patricia: A Ragtime Composition
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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1900 ragtime was
the
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Joseph Lamb
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F
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Patricia: A Ragtime Compositio
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Histor...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music. The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.â€Â    But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.    Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three†composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.    Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.    One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.†(The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.      This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.    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
Iko Iko
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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The Dixie Cups
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Will Corbin
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Iko Iko
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Will Corbin
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1461185 By The Dixie Cups. By Barbara Ann Hawkins, Joan Marie Johnson, and Rosa Lee Hawkins...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1461185 By The Dixie Cups. By Barbara Ann Hawkins, Joan Marie Johnson, and Rosa Lee Hawkins. Arranged by Will Corbin. Jazz,Pop. 24 pages. Will Corbin #1040044. Published by Will Corbin (A0.1461185). This song has roots in a Mardi Gras chant that ostensibly came from some unspecified Native American language. James Sugar Boy Crawford turned it into a song, and his band, Sugar Boy and his Cane Cutters (southern Louisiana had a lot of that) recorded it in 1953 as Jock-a-Mo, which may mean kiss my ass or a defiant response to that effect. It was recorded again, as kind of a whim, in 1964 by the girl trio The Dixie Cups, who made it a hit. It has since been endlessly covered by everyone from Cyndi Lauper to The Grateful Dead.This arrangement is essentially solo variations on the main melody backed by horn rhythms. If you want to make it go on endlessly, it's a simple three-chord tune (actually, mostly two chords) that lends itself to simple improv. It's arranged for two trumpets, horn, trombone and tuba.If you require alternative instrumentation, I'm happy to help. Contact me at wilcor@aol.com.
$15.00
Alleluia, Alleluia! Hearts to Heaven and Voices Raise — brass, organ hymn accompaniment
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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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Sir Arthur Seymour Sullivan
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Todd Marchand
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Alleluia, Alleluia! Hearts to
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Con Spirito Music
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1362360 Composed by Sir Arthur Seymour Sullivan. Arranged by Todd Marchand. Christian,Easte...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1362360 Composed by Sir Arthur Seymour Sullivan. Arranged by Todd Marchand. Christian,Easter,Sacred. 21 pages. Con Spirito Music #946819. Published by Con Spirito Music (A0.1362360). Perhaps most often associated with Christopher Wordsworth’s Easter hymn text, “Alleluia, Alleluia! Hearts to Heaven and Voices Raise,†and his All Saints Day text, “Hark! The Sound of Holy Voices,†Arthur S. Sullivan's tune LUX EOI may be used with any hymn in 8.7.8.7 D meter.Best known for his Victorian-era collaborations with dramatist and librettist W.S. Gilbert on comic operas including H.M.S. Pinafore, The Pirates of Penzance, and The Mikado, Sullivan (1842-1900) displayed prodigious musical talent early in life, writing his ï¬rst anthem at age eight, joining the Chapel Royal as a chorister at age 12, and earning a scholarship to the Royal Academy of Music at age 14. He later studied at the Leipzig Conservatory, and while still in his teens began building a reputation as a promising young composer. Among Sullivan’s works are 24 operas, 11 full orchestral works, 10 choral works and oratorios, and more than 70 hymns and anthems, including the hymn tunes ST. GERTRUDE (“Onward, Christian Soldiersâ€), FORTUNATUS (“Welcome, Happy Morningâ€), ST. KEVIN (“Come, Ye Faithful, Raise the Strainâ€), and the tune that is the basis for this arrangement.Following an opening fanfare by brass which is answered by organ, the verses proceed as follows: organ accompaniment verse (may be repeated as needed), brass accompaniment verse, penultimate verse (organ accompaniment with countermelody by trumpets), interlude, and ï¬nal verse (organ with brass punctuations and conclusion).©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$25.00
Zwei Männerchöre for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Anton Bruckner
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Ran Whitley
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Zwei Männerchöre for
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Gordon Cherry
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1350867 Composed by Anton Bruckner. Arranged by Ran Whitley. 19th Century,Romantic Period. ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1350867 Composed by Anton Bruckner. Arranged by Ran Whitley. 19th Century,Romantic Period. 19 pages. Gordon Cherry #935695. Published by Gordon Cherry (A0.1350867). Anton Bruckner composed these two secular songs for men's choir in 1866. The first, O könnt' ich dich beglücken (O, If I Could Make You Happy) is a patriotic song glorifying his homeland of Austria. The second song, Der Abendhimmel (The Evening Sky) beings and ends gently with large contrasts of dynamics in the middle section. The movement is full of quick harmonic changes as well.Ran Whitley has beautifully arranged the two movements. They are about 9-minutes in length and are appropriate for moderately advanced performers and feature a traditional brass quintet with 2 Trumpets in B-flat, Horn, Trombone and Tuba.
$25.00
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Happy - String Trio
