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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Die Baroque
Non classifié
304
Piano & claviers
Piano seul
86
Piano, Voix
84
Orgue
17
Orgue, Trompette (duo)
10
Piano, Voix et Guitare
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Facile
3
Piano Trio: piano, violon, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
2 Pianos, 4 mains
1
+ 5 instrumentations
Retracter
Guitares
Guitare notes et tablatures
29
Guitare
20
2 Guitares (duo)
2
Ligne De Mélodie, (Paroles) et Accords
2
3 Guitares (trio)
1
4 Guitares (Quatuor)
1
Mandoline, Guitare (duo)
1
Mandoline
1
Ukulele
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
20
Chorale 3 parties
11
Chorale TTBB
7
Chorale SSAA
5
Chorale 2 parties
3
Voix haute
1
Voix moyenne, Piano
1
+ 2 instrumentations
Retracter
Vents
3 Saxophones (trio)
54
Flûte, Hautbois, Clarinette, Basson
33
3 Clarinettes (trio)
30
Quatuor de Saxophones: 4 saxophones
30
2 Flûtes traversières (duo)
27
Quatuor de Clarinettes: 4 clarinettes
27
Flûte, Violon et Violoncelle
25
Flûte, Hautbois, Basson
24
2 Saxophones (duo)
21
Flûte traversière et Piano
20
Flûte, Hautbois, Clarinette (trio)
20
Ensemble De Flûte à bec
18
Flûte, Clarinette et Basson
18
Hautbois, Piano (duo)
15
Flûte et Guitare
14
2 Flûte à bec (duo)
14
2 Clarinettes, Basson
13
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
13
Trio de Flûtes: 3 flûtes
13
Clarinette et Piano
11
Quatuor de Flûtes : 4 flûtes
11
2 Clarinettes (duo)
11
2 Hautbois (duo)
10
Hautbois, Clarinette, Basson (trio d'anches)
9
Flûte traversière
9
Saxophone Alto et Piano
9
Saxophone Soprano et Piano
8
Flûte, Clarinette (duo)
7
Hautbois, Clarinette (duo)
6
Clarinette
6
Ensemble de Flûtes
6
Saxophone Tenor et Piano
6
Flûte à Bec
5
Quintette de Saxophone: 5 saxophones
5
Saxophone Baryton, Piano
5
Saxophone, Violon (duo)
4
Hautbois, violon (duo)
4
Flûte, Hautbois (duo)
4
Flûte, Violon
4
Clarinette, Violon (duo)
4
Flûte, Trompette (duo)
4
Saxophone, Clarinette (duo)
4
Hautbois, Trompette (duo)
4
Saxophone Alto
4
Quatuor de Flûtes à bec
4
Quintette de Clarinettes: 5 clarinettes
3
2 Hautbois et Basson
3
Flûte à bec Soprano, Piano
3
Flûte, Violoncelle
3
Ensemble de Clarinettes
3
Cor anglais, Piano
3
Hautbois, Harpe
3
Clarinette Basse, Piano
2
Clarinette, Harpe (duo)
2
Hautbois, Violoncelle
2
Quintette de Flûte : 5 flûtes
2
Saxophone (partie séparée)
2
Saxophone Tenor
2
Flûte à bec Soprano
2
3 Flûtes à bec (trio)
2
Flûte, Alto (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette, Basson (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Trombone (duo)
1
Ensemble de saxophones
1
Saxophone, Basson (duo)
1
Hautbois
1
Hautbois (partie séparée)
1
Hautbois, Basson (duo)
1
Clarinette, Trombone (duo)
1
+ 66 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
42
Ensemble de Trompettes
37
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Cor et Piano
11
Trompette, Piano
11
2 Cors (duo)
10
2 Trompettes (duo)
8
2 Trombones (duo)
8
Trombone et Piano
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trompette
6
Trompette, Saxophone (duo)
5
Trombone, violoncelle (duo)
4
Trompette, violon (duo)
4
Trombone
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 trombones
4
Tuba
3
Quatuor de cuivres: 4 trompettes
3
Cor anglais, Piano
3
Euphonium, Piano (duo)
3
2 Euphoniums (duo)
2
3 Trompettes (trio)
2
Trompette, Trombone (duo)
2
Quatuor de Cuivres
2
Ensemble de Cors
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Tuba et Piano
1
Cor
1
4 Tubas
1
Cor et Harpe
1
Trompette, Harpe
1
Trombone, Orgue
1
Quatuor de cuivres: 4 cors
1
Euphonium, Tuba (duo)
1
Trombone, Violon (duo)
1
Trompette, Basson (duo)
1
+ 32 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
52
Violon et Piano
21
Violon, Violoncelle (duo)
20
Trio à Cordes: violon, alto, violoncelle
20
Violoncelle, Piano
17
Alto, Piano
17
Violon
14
2 Violons (duo)
11
2 Violoncelles (duo)
10
Violon, Alto (duo)
8
Harpe
7
2 Altos (duo)
6
Trio à Cordes: 3 violoncelles
5
2 Harpes (duo)
5
Violoncelle
5
Trio à Cordes: 2 violons, violoncelle
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Contrebasse, Piano (duo)
3
Harpe, Flûte (duo)
3
Alto, Violoncelle (duo)
3
4 Violoncelles
3
2 Contrebasses (duo)
2
Harpe, Violon (duo)
2
Alto seul
2
Harpe, Violoncelle (duo)
1
Violoncelle, Contrebasse (duo)
1
Violoncelle , Guitare (duo)
1
Alto et Harpe
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
Alto et Basson
1
Violon, Basson (duo)
1
Trio à cordes: 3 altos
1
Violon, Orgue
1
Quatuor à cordes : 4 altos
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
15
Orchestre à Cordes
15
Ensemble de cuivres
8
Orchestre d'harmonie
8
Cloches
4
Orchestre
1
Ensemble Jazz
1
Ensemble de Percussions
1
Xylophone
1
+ 4 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Die Baroque
intermédiaire
Orchestre d'harmonie
Partitions à imprimer
8 partitions trouvées
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1
Wachet auf ruft uns die Stimme - Choral and Prelude BWV 645 - Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Thomas Graf
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Wachet auf ruft uns die Stimme
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1111040 Composed by Johann Sebastian Bach. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 60 pa...
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Concert Band - Level 3 - SKU: A0.1111040 Composed by Johann Sebastian Bach. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 60 pages. Thomas Graf - the-hit-factory.com #713312. Published by Thomas Graf - the-hit-factory.com (A0.1111040). Perfect for any Christmas Concert About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/ Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Alto 1 Alto 2 Tenor Sax Baritone Sax Flugelhorn (Solo) Trumpet 1 in Bb Trumpet 2/3 in Bb Horn in F Tenor Horn Baritone Horn Trombone Tuba Piano Guitar Bass in Bb Bass Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$25.00
Sinfonia Venezia - Pasquale Anfossi (1727 - 1797) - Primo Tempo (First part)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Pasquale Anfossi
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Fabrizio Brezzo
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Sinfonia Venezia - Pasquale An
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Fabrizio Brezzo
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.896391 Composed by Pasquale Anfossi (Taggia 1727 - Rome 1797). Arranged by Fabrizio Brezzo. Baroque. Score and parts. 1...
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Concert Band - Level 3 - SKU: A0.896391 Composed by Pasquale Anfossi (Taggia 1727 - Rome 1797). Arranged by Fabrizio Brezzo. Baroque. Score and parts. 19 pages. Fabrizio Brezzo #4633087. Published by Fabrizio Brezzo (A0.896391). Pasquale Anfossi (5 April 1727 – February 1797) was an Italian opera composer. Born in Taggia, Liguria, he studied with Niccolò Piccinni and Antonio Sacchini, and worked mainly in London, Venice and Rome.He wrote more than 80 operas, both opera seria and opera buffa, although he concentrated on church music, especially oratorios, during his last years. Anfossi died in Rome in 1797.As an operatic composer, Anfossi remained forgotten for a long time, despite his great popularity with his contemporaries, because his works were overshadowed by those of Salieri, Rossini and Mozart. Nevertheless, Johann Wolfgang von Goethe staged Anfossi's farsetta La maga Circe (Circe, the Sorceress) in his role as the theatre director of Weimar. He adapted the libretto with Christian August Vulpius and also made plans for a continuation, which never came to bear.Only in the last 20 years has Anfossi's work been appreciated anew, through diverse productions such as Giuseppe riconosciuto. His work was featured at the 2005 Salzburg Summer Festival.Fabrizio Brezzo, this arranger, lives in Taggia, the town where Anfossi was born.In the second half of this symphony, you can hear the theme that Mozart used, 9 years later, for his Confutatis maledictis of the requiem mass.
$8.50
Krebs Trio
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Stephen R Dalrymple
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Krebs Trio
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Sc...
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Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Score and parts. 14 pages. Stephen R Dalrymple #5030197. Published by Stephen R Dalrymple (A0.818295). Krebs Trio ♫ for Concert Band with Flexible Instrumentation ♫ by Johann Ludwig Krebs (1713-1780) ♫ arranged by Stephen R Dalrymple ♫ Johann Krebs was the son of a well-known organist. Krebs studied organ and composition with JS Bach and was highly commended by him. He was one of the most technically gifted young organists of his day, yet was never employed by a major church. Krebs held modest positions all of his life and he and his family of seven children struggled with poverty. ♫ Although underpaid according to his ability and training, Krebs produced a large body of work – 193 known scores. His compositions are judged to be of prime quality, superior enough for scholars to argue whether a piece was composed by him or Bach. His Toccata and Fugue in E for organ is counted one of the masterpieces in Baroque literature. His 2 concertos for lute show that he must have been an accomplished lute player. Krebs was born, studied, lived, & composed in or near Upper Saxony (much like Bach). ♫ Teaching band in a small school, I often needed flexible instrumentation to assure satisfaction for students when a full complement of instruments was not available. This Baroque work from pipe organ literature has been scored for 3 independent polyphonic voices plus an optional percussion part. This piece can be played with almost any combination of instruments or as a trio or quartet. I added an optional hand drum part so percussionists can also participate. Krebs Trio has been performed by my mid level band and a quintet of music educators at a school music benefit concert, and the fanfa at North Haiti Music Camp. ♫ Purchase price includes permission is granted to make photocopies of parts additional scores for a medium size school band.
$18.00
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather 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 certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned 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. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with 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. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) 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, here the instruments are certainly an essential part of the presentation. Also, 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 – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather 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 certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned 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 than two groups. The instruments, because they could be appropriately situated, 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 along with 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. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, 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 – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Golden Helmet Of Cortez
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Orchestre d'harmonie
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INTERMÉDIAIRE
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the end of 1520, he had won Me
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Randy A
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Golden Helmet Of Cortez
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Randy A. Steinberg
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.870372 Composed by Randy A. Steinberg. Contemporary,Latin. Score and parts. 156 pages. Randy A. Steinberg #1885815. Pub...
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Concert Band - Level 3 - SKU: A0.870372 Composed by Randy A. Steinberg. Contemporary,Latin. Score and parts. 156 pages. Randy A. Steinberg #1885815. Published by Randy A. Steinberg (A0.870372). Born in 1485, Hernando Cortez was a Spanish adventurer rewarded for his courage and skills in battle. In the spring of 1519 with 11 ships and 700 men, he landed on the newly discovered gulf coast of Mexico looking for gold that was rumored to be found there. To ensure that none of his men deserted him, he burned all except one of his fleet of ships. He quickly conquered the Aztec empire and its emperor Montezuma. There, he eventually killed Montezuma and seized the gold and treasure that had belonged to the Aztecs for centuries. By the end of 1520, he had won Mexico for Spain and put it under Spanish rule. As a reward, King Charles V of Spain made him governor and captain general of Mexico. He died in Seville, Spain in 1536. Although Cortez’ aims were for conquest and gold – many which resulted in suffering and misery for the Aztecs, there were interesting cultural side effects as Spain ruled Mexico. Ancient Indian folk tunes and ceremonial music were suddenly intermixed with the higher culture of the baroque and renaissance music from Spain. Much of what we now know of today in the way of Latin styles of music owes its roots to the invasion of Cortez and culture changes he inadvertently brought with him. The Golden Helmet Of Cortez musically commemorates the story of Cortez as he landed in Mexico on that spring day in 1519. The piece is a compilation of many Latin and Mexican musical styles. Some of these are light in style, others evoke the battles that took place. These are all brought together in an exciting programmatic style to be enjoyed by all. 2016 Arrangement New Release.
$24.99
Johnny Bach Time Traveler
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Edward Sims
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Edward Sims
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Johnny Bach Time Traveler
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Ed Sims
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1154732 By Edward Sims. By Edward Sims. Arranged by Edward Sims. 19th Century,20th Century,Baroque,Jazz,March. Score an...
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Concert Band - Level 3 - SKU: A0.1154732 By Edward Sims. By Edward Sims. Arranged by Edward Sims. 19th Century,20th Century,Baroque,Jazz,March. Score and Parts. 84 pages. Ed Sims #755006. Published by Ed Sims (A0.1154732). Johann Sebastian Bach. His music is the foundation on which so much of our musical heritage is based. But what if he had reappeared and composed in the style of future generations? That question is musically and whimsically pondered in this composition. It opens with a setting of his hymn “Christus, de runs selig machtâ€. We then hear the subsequent variations as he may have used his melody. The first is in the classical style similar to Mozart, which is followed by a Romantic era Viennese waltz style, a la Strauss. He next appears in the late 19th century as a march composer. In his most recent appearance (that we know of), he writes in the swing style of the 1940’s. This piece, which is sure to be an audience favorite, provides the director with limitless opportunities to teach about the Phrygian mode and to discuss many eras of music history and the styles and composers associated with each, while giving the students the challenge of playing and learning to quickly transition to the various styles with music that is both challenging and fun.
$2.00
Antique Sketches
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Dan Cook
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Antique Sketches
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Pecan Valley Music
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1221249 Composed by Dan Cook. Baroque,Contemporary,Contest,Festival,Instructional. Score and Parts. 89 pages. Pecan Val...
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Concert Band - Level 3 - SKU: A0.1221249 Composed by Dan Cook. Baroque,Contemporary,Contest,Festival,Instructional. Score and Parts. 89 pages. Pecan Valley Music #817581. Published by Pecan Valley Music (A0.1221249). Grade 3+duration; 4:30I) Sarabande (2:38)II) Fugue (1:53)Flutes 1 & 2, Oboe, Bassoon, Bb Clarinets 1, 2 & 3, Bass Clarinet, Alto Saxes 1 & 2, Tenor Sax, & Baritone SaxBb Trumpets 1, 2 & 3, Horns in F 1 & 2, Trombones 1 & 2, Euphonium, & TubaTimpani, Bells, VibraphoneSnare Drum, Bass Drum, Crash CymbalAntique Sketches was composed with the intention of creating an accessible work for young band using counterpoint. Some of my favorite memories as a student in public school band include performing various arrangements of J.S. Bach. I loved sitting in the trumpet section listening across the ensemble to how the various melodic lines would rapidly fizz around from instrument to instrument.This short, two movement work is designed to foster this listening experience in your students. The first movement consists of a simple binary form, with woodwinds and brass trading off a slow melodic line. The ensemble then combines to allow for the exploration of top to bottom, back to front balance and blend without having to worry about too much technique. There are also moments of modernity in the harmonic structure designed to help anchor the movement to the present.The second movement is a fugue with a long melodic subject and two countersubjects, the point of which is to apply the listening lessons from the first movement to the more technical aspects of the second. Fugue subjects are announced with percussion entrances to focus the listening experience across the ensemble and the audience.
$40.00
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