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James E
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114
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19
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29
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4
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3
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35
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31
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22
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8
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6
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5
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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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30
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6
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2
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2
2 Trompettes (duo)
2
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2
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Trompette, Piano
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1
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1
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33
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1
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Vous avez sélectionné:
James E
facile
Orchestre d'harmonie
Partitions à imprimer
4 partitions trouvées
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Movin' Thru (jazz combo) Flexible Instrumentation
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Orchestre d'harmonie
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FACILE
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Blues
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Jazz
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James M
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Movin' Thru
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Myles Music James Johnson
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.995513 Composed by James M. Johnson. Blues,Jazz. Score and parts. 31 pages. Myles Music James Johnson #3565703. Publish...
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Concert Band - Level 2 - SKU: A0.995513 Composed by James M. Johnson. Blues,Jazz. Score and parts. 31 pages. Myles Music James Johnson #3565703. Published by Myles Music James Johnson (A0.995513). Movin’ Thru is a fun, jazzy, bluessy shuffle tune; which is based on the 12 bar B-flat blues form. Movin' Thru could be a fun concert opener or closer! Depending on how many solos are taken the duration of this piece will vary. This piece is enjoyable for beginners as well as experience musicians. Beginners are encourage to just improvise off of the melody as well as the concert B-flat scale.This piece focuses on unison playing and a bit of rhythmic independence. At the beginning, player II – does not need to play the rhythm exactly, but should focus on creating a round and strong sound! The director may choose to add piano tremolo’s, cymbal rolls or anything else during the ï¬rst measure! Bars 12 and 13 need to be rhythmically accurate, chiefly for part I and part II. If part II are trumpet players they need to make sure that they take-out their harmon mute for those bars as it will give an extra punch! Feel free to watch a video of the music: https://www.youtube.com/watch?v=7K9TgeUrJjU&t=2s
$35.00
Jingle Bells for school ensembles - Mixed Abilities Classroom and School Ensemble Piece
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Orchestre d'harmonie
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FACILE
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Noël
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James Pierpont
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Austin Ralphson
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Jingle Bells for school ensemb
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Austin Ralphson
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.569837 Composed by James Pierpont. Arranged by Austin Ralphson. Christmas,Instructional,Standards. Score and parts. 57 ...
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Concert Band - Level 2 - SKU: A0.569837 Composed by James Pierpont. Arranged by Austin Ralphson. Christmas,Instructional,Standards. Score and parts. 57 pages. Austin Ralphson #4804915. Published by Austin Ralphson (A0.569837). The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble.The Christmas pieces in this series have been arranged into 13 different parts which cater for the large majority of musicians within school. These include: * a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas * easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players * very easy violin and viola parts on open strings only * easy and standard piano parts * ukulele part in tab, chord patterns and chord letters * guitar part in tab, chord patterns and chord letters * general chord plan in chord letters Teachers / band leaders can select the parts which are most appropriate for their students. The music is intended to be repeated a number of times, with different parts coming in and out for each repeat to create variety.Printing and CopyingThe purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.
$8.99
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Orchestre d'harmonie
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, 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, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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 more than two groups. Because they could be appropriately situated, the instruments 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 and 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. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
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