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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
2 Sonata
Non classifié
905
Piano & claviers
Piano seul
857
Piano Facile
144
Orgue
36
2 Pianos, 4 mains
22
1 Piano, 4 mains
18
Piano, Voix
12
Clavecin
6
Piano Quatuor: piano, 2 violons, violoncelle
5
Instruments en Do
5
Piano, Voix et Guitare
4
Piano Trio: piano, violon, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Accompagnement Piano
3
Piano grosses notes
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Accordéon
1
Instrument seul et Orgue
1
+ 12 instrumentations
Retracter
Guitares
2 Guitares (duo)
90
Guitare
88
Guitare notes et tablatures
74
Ukulele
5
Piano, Guitare (duo)
4
Ligne De Mélodie, (Paroles) et Accords
3
3 Guitares (trio)
2
Ensemble de guitares
2
Banjo
2
Basse electrique
1
4 Guitares (Quatuor)
1
2 Mandolines (duo)
1
+ 7 instrumentations
Retracter
Voix
Chorale 2 parties
8
Chorale SATB
4
Chorale 3 parties
3
Voix Mezzo-Soprano, Piano
1
Chorale TTBB
1
Voix duo, Piano
1
Voix Baryton, Piano
1
Chorale SSAA
1
+ 3 instrumentations
Retracter
Vents
2 Flûtes traversières (duo)
163
Flûte traversière
158
2 Saxophones (duo)
96
2 Clarinettes (duo)
93
2 Flûte à bec (duo)
75
Flûte traversière et Piano
74
3 Flûtes à bec (trio)
72
Clarinette et Piano
60
3 Clarinettes (trio)
47
Flûte et Guitare
42
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
36
Hautbois, Piano (duo)
35
Saxophone Alto et Piano
34
2 Hautbois (duo)
33
Flûte à Bec
33
2 Clarinettes, Basson
28
Clarinette
27
Saxophone Tenor et Piano
25
Flûte, Clarinette et Basson
24
Saxophone Soprano et Piano
24
Flûte, Hautbois, Clarinette, Basson
23
Flûte, Hautbois, Basson
22
Flûte, Hautbois, Clarinette (trio)
21
3 Saxophones (trio)
21
Quatuor de Saxophones: 4 saxophones
20
Saxophone Baryton, Piano
17
Trio de Flûtes: 3 flûtes
16
Quintette de Saxophone: 5 saxophones
15
Quatuor de Clarinettes: 4 clarinettes
12
Clarinette Basse, Piano
11
Cor anglais, Piano
10
Flûte traversière, Basse continue
10
Flûte, Clarinette (duo)
10
Ensemble de Clarinettes
9
Saxophone Alto
9
Flûte, Violon et Violoncelle
9
Flûte, Violoncelle
8
Saxophone (partie séparée)
8
2 Flûtes traversières, Piano
8
Quintette de Clarinettes: 5 clarinettes
8
Flûte à bec Alto, Basse continue
8
Quatuor de Flûtes : 4 flûtes
7
Clarinette, Basson (duo)
7
Hautbois, Basson (duo)
7
2 Cors Anglais Et Pianoforte
6
Hautbois, Clarinette (duo)
6
Ensemble de Flûtes
6
Clarinette, Violoncelle (duo)
6
Clarinette (partie séparée)
6
Ensemble de saxophones
5
Clarinette et Alto
5
Clarinette, Violon (duo)
5
2 Hautbois et Basson
4
Ensemble De Flûte à bec
4
Flute (partie séparée)
4
Hautbois (partie séparée)
4
Flûte à bec Alto, Piano
4
2 Flûtes, Basse continue
4
Flûte à bec Soprano
3
Flûte, Violon
3
Flûte, Alto (duo)
3
Flûte à Bec, Piano
3
Quatuor de Flûtes à bec
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Clarinette, Guitare (duo)
3
Flûte, Violon, Piano
2
Clarinette, Harpe (duo)
2
Flute, harpe et violon
2
Hautbois, Flûte
2
Saxophone Tenor
2
Saxophone
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Saxophone (duo)
1
Flûte irlandaise
1
Hautbois
1
Hautbois, Harpe
1
Flûte, Trompette (duo)
1
Hautbois, Violoncelle
1
Flûte, Basson et Piano
1
Harmonica
1
Flûte, Tuba (duo)
1
Cor anglais, Guitare (duo)
1
Flûte à bec Soprano, Basse continue
1
Clarinette, Violoncelle, Piano (trio)
1
5 Flûtes à bec
1
Hautbois, violon (duo)
1
Saxophone et Guitare
1
Flûte à bec Tenor
1
Ensemble à vent
1
Quintette de Flûte : 5 flûtes
1
Cor anglais et Harpe (duo)
1
Flûte, Trombone (duo)
1
Flûte à bec Soprano, Piano
1
2 Flûtes à bec, Piano
1
Saxophone et Orgue
1
Piccolo, Piano
1
Instruments en Mib
1
+ 92 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
90
Quatuor de Cuivres : 2 trompettes, trombone, tuba
36
2 Trompettes (duo)
35
2 Cors (duo)
34
Trompette, Piano
31
2 Trombones (duo)
30
Trombone et Piano
28
Cor et Piano
20
Euphonium, Piano (duo)
19
2 Euphoniums (duo)
16
Trompette (partie séparée)
15
Trombone
15
2 Tubas (duo)
12
Cor anglais, Piano
10
Trompette
10
Quatuor de Cuivres
8
Tuba et Piano
8
Cor
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
2 Cors Anglais Et Pianoforte
6
Trompette, Trombone (duo)
6
2 Euphoniums et 2 Tubas
6
Trombone (partie séparée)
5
Quatuor de cuivres: 4 trombones
5
Cor (partie séparée)
4
Trio de Cuivres
4
Quatuor de cuivres: 4 cors
3
Ensemble de Trombones
3
3 Trombones (trio)
3
Euphonium, Tuba (duo)
2
Tuba
2
Tuba (partie séparée)
2
3 Trompettes (trio)
1
Cor anglais, Guitare (duo)
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Ensemble de Trompettes
1
Trombone basse et Piano
1
Bass Clef Instruments
1
Ensemble de Cors
1
Euphonium
1
Instruments en Sib
1
Trompette, Cor (duo)
1
Cor anglais et Harpe (duo)
1
Trompette, Harpe
1
3 Tubas (trio)
1
3 Euphoniums
1
Trombone, Cor (duo)
1
3 Cors (trio)
1
Cor et Harpe
1
+ 45 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
293
Violon
224
2 Violons (duo)
123
Violon et Piano
112
Violoncelle, Piano
74
2 Violoncelles (duo)
72
Trio à Cordes: 2 violons, violoncelle
67
2 Altos (duo)
61
Alto, Piano
59
Violoncelle
53
2 Violons et Basse continue
36
Trio à Cordes: violon, alto, violoncelle
36
Violon (partie séparée)
33
Alto seul
27
Violon, Violoncelle (duo)
25
Violon, Alto (duo)
25
Trio à cordes: 3 violins
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
15
2 Violons, Piano
13
Alto (partie séparée)
11
Harpe
11
2 Contrebasses (duo)
10
Violon, Guitare (duo)
9
Alto, Violoncelle (duo)
8
Violoncelle (partie séparée)
8
Trio à Cordes: 2 violons, alto
6
Violoncelle, Basse continue
6
Violon, Basse continue
6
Trio à Cordes: 3 violoncelles
5
Contrebasse, Piano (duo)
5
Violon, Basson (duo)
5
Violoncelle, Contrebasse (duo)
4
Violoncelle , Guitare (duo)
4
2 Harpes (duo)
4
Contre Basse
3
Harpe, Flûte (duo)
3
Contrebasse (partie séparée)
3
4 Violoncelles
3
Alto et Harpe
2
Harpe, Violoncelle (duo)
2
Alto, Guitare (duo)
2
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle, Orchestre
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Quatuor à cordes: 4 violons
1
Harpe, Violon (duo)
1
+ 44 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
113
Orchestre
39
Orchestre de chambre
20
Orchestre d'harmonie
19
Ensemble de cuivres
8
Ensemble Jazz
4
Percussion (partie séparée)
3
2 Xylophones
2
Ensemble de Percussions
2
Cloches
1
Marimba
1
Xylophone
1
+ 7 instrumentations
Retracter
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DULCIMER
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FLUTE A DIX…
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GUITARE
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LUTH, THEOR…
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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
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KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : TECHNIQUES
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2 Sonata
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19 partitions trouvées
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1
Sonata for Alto Saxophone, Op. 29 (37-Piece Digital Pack)
#
Orchestre d'harmonie
#
AVANCÉ
#
Classique
#
Anthony LaBounty
#
Sonata for Alto Saxophone, Op.
#
Hal Leonard - Digital
#
SheetMusicPlus
Level 5 - SKU: HX.330213 Arranged by Anthony LaBounty. This edition: scorch. Classical. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
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Level 5 - SKU: HX.330213 Arranged by Anthony LaBounty. This edition: scorch. Classical. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330213).
Digital Pack includes
:
Sonata for Alto Saxophone, Op. 29 - Conductor Score (Full Score)
Sonata for Alto Saxophone, Op. 29 - Solo Eb Alto Saxophone
Sonata for Alto Saxophone, Op. 29 - Flute 1
Sonata for Alto Saxophone, Op. 29 - Flute 2
Sonata for Alto Saxophone, Op. 29 - Oboe 1
Sonata for Alto Saxophone, Op. 29 - Oboe 2
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 1
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 2
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 3
Sonata for Alto Saxophone, Op. 29 - Bb Bass Clarinet
Sonata for Alto Saxophone, Op. 29 - Eb Contra Alto Clarinet
Sonata for Alto Saxophone, Op. 29 - Bb Contra Bass Clarinet
Sonata for Alto Saxophone, Op. 29 - Bassoon 1
Sonata for Alto Saxophone, Op. 29 - Bassoon 2
Sonata for Alto Saxophone, Op. 29 - Eb Alto Saxophone 1
Sonata for Alto Saxophone, Op. 29 - Eb Alto Saxophone 2
Sonata for Alto Saxophone, Op. 29 - Bb Tenor Saxophone
Sonata for Alto Saxophone, Op. 29 - Eb Baritone Saxophone
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 1
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 2
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 3
Sonata for Alto Saxophone, Op. 29 - F Horn 1
Sonata for Alto Saxophone, Op. 29 - F Horn 2
Sonata for Alto Saxophone, Op. 29 - Trombone 1
Sonata for Alto Saxophone, Op. 29 - Trombone 2
Sonata for Alto Saxophone, Op. 29 - Bass Trombone
Sonata for Alto Saxophone, Op. 29 - Euphonium in Bass Clef
Sonata for Alto Saxophone, Op. 29 - Euphonium in Treble Clef
Sonata for Alto Saxophone, Op. 29 - Tuba
Sonata for Alto Saxophone, Op. 29 - Contrabass
Sonata for Alto Saxophone, Op. 29 - Violincello
Sonata for Alto Saxophone, Op. 29 - Timpani
Sonata for Alto Saxophone, Op. 29 - Percussion 1
Sonata for Alto Saxophone, Op. 29 - Percussion 2
Sonata for Alto Saxophone, Op. 29 - Percussion 3
Sonata for Alto Saxophone, Op. 29 - Percussion 4
Sonata for Alto Saxophone, Op. 29 - Percussion 5
$95.00
Sonata No. 2 for Horn and Wind Ensemble
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Orchestre d'harmonie
#
AVANCÉ
#
Classique
#
Luigi Cherubini
#
Richard Decker
#
Sonata No. 2 for Horn and Wind
#
Gordon Cherry
#
SheetMusicPlus
Concert Band - Level 5 - SKU: A0.792736 Composed by Luigi Cherubini. Arranged by Richard Decker. Classical,Romantic Period. Score and parts. 83 pages. G...
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Concert Band - Level 5 - SKU: A0.792736 Composed by Luigi Cherubini. Arranged by Richard Decker. Classical,Romantic Period. Score and parts. 83 pages. Gordon Cherry #6132593. Published by Gordon Cherry (A0.792736). Sonata No. 2 for Horn by Luigi Cherubini was first published in 1804 and is comprised of two movements: a slow introduction, Largo, and a showy technical fast section, Allegro Moderato. The work has two cadenzas that show off the technical side of the instrument. Richard Decker has beautifully arranged this popular solo for Horn and Wind Ensemble or Concert Band.The work is about 6 minutes in length and appropriate for advanced performers.
$52.50
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
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
Sonata for Alto Saxophone, Op. 29 - Euphonium in Bass Clef
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Orchestre d'harmonie
#
AVANCÉ
#
Classique
#
Anthony LaBounty
#
Sonata for Alto Saxophone, Op.
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Hal Leonard - Digital
#
SheetMusicPlus
Level 5 - SKU: HX.330203 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
(+)
Level 5 - SKU: HX.330203 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330203).
$6.00
Sonata for Alto Saxophone, Op. 29 - Euphonium in Treble Clef
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Orchestre d'harmonie
#
AVANCÉ
#
Classique
#
Anthony LaBounty
#
Sonata for Alto Saxophone, Op.
#
Hal Leonard - Digital
#
SheetMusicPlus
Level 5 - SKU: HX.330204 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
(+)
Level 5 - SKU: HX.330204 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330204).
$6.00
Sonata for Alto Saxophone, Op. 29 - Bass Trombone
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Orchestre d'harmonie
#
AVANCÉ
#
Classique
#
Anthony LaBounty
#
Sonata for Alto Saxophone, Op.
#
Hal Leonard - Digital
#
SheetMusicPlus
Level 5 - SKU: HX.330202 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
(+)
Level 5 - SKU: HX.330202 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330202).
$6.00
Sonata for Alto Saxophone, Op. 29 - Timpani
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Orchestre d'harmonie
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AVANCÉ
#
Classique
#
Anthony LaBounty
#
Sonata for Alto Saxophone, Op.
#
Hal Leonard - Digital
#
SheetMusicPlus
Level 5 - SKU: HX.330208 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
(+)
Level 5 - SKU: HX.330208 Arranged by Anthony LaBounty. This edition: scorch. Classical. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330208).
$6.00
Sonata for Alto Saxophone, Op. 29 - Bassoon 2
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Anthony LaBounty
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Sonata for Alto Saxophone, Op.
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Hal Leonard - Digital
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SheetMusicPlus
Level 5 - SKU: HX.330190 Arranged by Anthony LaBounty. This edition: scorch. Classical. 3 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
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Level 5 - SKU: HX.330190 Arranged by Anthony LaBounty. This edition: scorch. Classical. 3 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330190).
$6.00
Pathetique Sonata for Piano Mov't 2
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Band Arrangement
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Bud Caputo
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Pathetique Sonata for Piano Mo
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Bud Caputo
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1108501 By Band Arrangement. By Ludwig van Beethoven. Arranged by Bud Caputo. 19th Century,Romantic Period. Score and P...
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Concert Band - Level 3 - SKU: A0.1108501 By Band Arrangement. By Ludwig van Beethoven. Arranged by Bud Caputo. 19th Century,Romantic Period. Score and Parts. 48 pages. Bud Caputo #711139. Published by Bud Caputo (A0.1108501). This most beautiful and memorable Beethoven melody is transcribed here for Concert Band , Grade 3.
$29.95
Beethoven’s Browne
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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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Beethoven’s Browne
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818277 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Classical. ...
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Concert Band - Level 3 - SKU: A0.818277 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Classical. Score and parts. 60 pages. Stephen R Dalrymple #4855443. Published by Stephen R Dalrymple (A0.818277). Beethoven’s Browne ♫ transcription of Piano Sonata 6 Movement 2 by Ludwig van Beethoven Opus 10 Number 2 ♫ arranged by Stephen R Dalrymple for Concert Band ♫ arrangement © 2001, 2020 Stephen R Dalrymple ♫ recording ℗ 2022 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission is granted to make photocopies of parts and additional scores for a medium size school band. ♫ Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1, Trumpet 2, F Horn, Trombone/Baritone/Bassoon, Treble Clef Baritone, Tuba, Electric Bass, Snare/Triangle and Timpani. ♫ Beethoven’s 6th Piano Sonata is dedicated to Countess Anna Margarete von Braun. It was written during 1796-1798. Beethoven was 25 to 28 years old at the time. ♫ In Sonata Six Beethoven substituted a 3:4 movement for the typical slow movement. Although he used the common Minuet, Trio, Minuet formula, he experimented with the form by eliminating literal repetitions. Sonata 6 consists of 3 movements. This piece is based on the middle movement of the middle sonata. This middle movement has 3 sections. It is written in 3:4 time. The middle section of the movement is written in trio form. ♫ The YouTube video contains a full recording.
$19.00
Concertino for Trombone and Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Concertino for Trombone and Ba
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Dacker Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.814807 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 196 pages. Dacker Music #5771449. Publishe...
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Concert Band - Level 4 - SKU: A0.814807 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 196 pages. Dacker Music #5771449. Published by Dacker Music (A0.814807). The Italian word concertino means little concerto, and as that title indicates, Concertino for Trombone and Band closely follows traditional sonata form on a somewhat smaller scale. With a home key of D minor, the three movements are: 1. Allegro moderatto - sonata-allegro - D minor 2. Andante con moto - passacaglia - F major 3. Allegro - abridged sonata-rondo - D minorThis composition is the composer's transcription of his Sonatina for Trombone and Piano.The price includes license to make as many copies of each part as necessary. Grade: Solo 5 - Band 3+ Duration: 8:45
$65.00
Concertino for Clarinet and Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Concertino for Clarinet and Ba
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Dacker Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.814764 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 230 pages. Dacker Music #3594469. Publishe...
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Concert Band - Level 4 - SKU: A0.814764 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 230 pages. Dacker Music #3594469. Published by Dacker Music (A0.814764). The Italian word concertino means little concerto, and as that title indicates, Concertino for Clarinet and Band closely follows traditional sonata form on a somewhat smaller scale. With a home key of G minor, the three movements are: 1. Allegro agitato- sonata-allegro - G minor 2. Andante tranquillo - chaconne - C major 3. Allegro - abridged sonata-rondo - G minor. This composition is the composer's transcription of his Sonatina for Clarinet and Piano. Grade: Solo 4 - Band 3+ Duration: 9:30Price includes license to make as many copies of each part as required.
$65.00
Concertino for Trumpet and Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Richard E Brown
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Concertino for Trumpet and Ban
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Dacker Music
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.814738 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 149 pages. Dacker Music #3049061. Publishe...
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Concert Band - Level 3 - SKU: A0.814738 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 149 pages. Dacker Music #3049061. Published by Dacker Music (A0.814738). The Italian word concertino means little concerto, and as that title indicates, Concertino for Trumpet and Band closely follows traditional sonata form on a somewhat smaller scale. With a home key of G minor, the three movements are: 1. Allegro agitato - sonata-allegro - G minor 2. Andante cantabile - passacaglia - A-flat major 3. Allegro con fuoco - rondo-tarantella - G minorThis composition is the composer's transcription of his Sonatina for Trumpet and Piano.The price includes license to make as many copies of each part as necessary. Grade: Solo 4 - Band 3+ Duration: 7:00
$65.00
Pastoral
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Contemporain
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Julia Perry
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John Ivor Holland
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Pastoral
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1355197 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical. 41 pages. John Ivor Holland #93...
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Concert Band - Level 3 - SKU: A0.1355197 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical. 41 pages. John Ivor Holland #939915. Published by John Ivor Holland (A0.1355197). Julia Perry (25 March 1924 – 24 April 1979) was an American classical composer and teacher who combined European classical and neo-classical training with her African-American heritage. In 1952, Perry began studying under Nadia Boulanger in Paris, during which time she was awarded the Boulanger Grand Prix for her Viola Sonata; after five and a half years in Europe, Perry returned to America and continued her work in composition. 'Pastoral' was composed in 1959 for flute and six strings (2 violins, 2 violas and 2 cellos) here expanded to the palette of the concert band including supporting percussion. This arrangement has been made as part of an ongoing project to widen the repertoire of music by women composers for concert band around the world.
$49.99
Nimrod (Flex-Band)
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Orchestre d'harmonie
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FACILE
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Edward Elgar
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James Symington
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Nimrod
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James Edward Ernest Symington
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1518069 Composed by Edward Elgar. Arranged by James Symington. 20th Century,Classical,Film/TV,Historic,Patriotic. 29 pa...
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Concert Band - Level 2 - SKU: A0.1518069 Composed by Edward Elgar. Arranged by James Symington. 20th Century,Classical,Film/TV,Historic,Patriotic. 29 pages. James Edward Ernest Symington #1092231. Published by James Edward Ernest Symington (A0.1518069). The name of the variation refers to Augustus J. Jaeger, who was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. Nimrod is described in the Old Testament as a mighty hunter before the Lord, Jäger being German for hunter. In 1904 Elgar told Dora Penny (Dorabella) that this variation is not really a portrait, but the story of something that happened. Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. And that is what you must do, Jaeger said, and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 Pathétique. Elgar disclosed to Dora that the opening bars of Nimrod were made to suggest that theme. Can't you hear it at the beginning? Only a hint, not a quotation. This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph, Whitehall in London at the National Service of Remembrance. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. The “Nimrod” variation was the final orchestral composition (before the national anthem) played by the Greek National Orchestra in a televised June 2013 concert, before the 75-year-old Athenian ensemble was dissolved in the wake of severe government cutbacks. An adaptation of the piece appears at the ending of the 2017 film Dunkirk in the score by Hans Zimmer. This arrangement for Flex-Band has been adapted to suit the instrumentalists. The key has changed and this makes it much more playable and more secure.
$49.99
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: 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
Kristinmark Overture for Concert Band
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Orchestre d'harmonie
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FACILE
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Contemporain
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Gregory Fritze
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Kristinmark Overture for Conce
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Musica Nova USA
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #48...
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Concert Band - Level 2 - SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #4821537. Published by Musica Nova USA (A0.917396). Kristenmark Overture was commissioned and composed for the Symphonic Wind Ensemble of the University of Minnesota Duluth, Mark Whitlock conductor and the Symphony Band of the University of Wisconsin River Falls, Kristin Tjornehoj, conductor.The name Kristinmark are the first names of both conductors.It has been played many times in Europe, South America and the United States. It is often used in honor band festivals as it fits the level of difficulty (grade 4) for the average high school band festival and good duration for such events – seven minutes. The piece is in a clear Sonata Allegro form and includes short solos for trombone, horn, alto sax, trumpet, timpani, snare drum, tuba, oboe, crotales, flute, piccolo, bassoon, euphonium and clarinet. Non of the solos are very long or difficult. The solos are meant to feature as many musicians as possible. In some cases, alternate instruments have cues if particular instrumentalists are not strong performers . In 2017 Kristenmark Overture was submitted to The American Prize Composition Contest, Band Division. It placed as a Semi Finalist that year.Kristenmark Overture can be heard by the Brazilian Wind Orchestra, conducted by Dario Sotelo at: http://www.youtube.com/watch?v=bk-PvXTvxy8
$60.00
Sinfonietta - A Symphony in Three Movements for Grade 3 Concert Band
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Orchestre d'harmonie
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FACILE
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Gregory Fritze
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Sinfonietta - A Symphony in Th
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Musica Nova USA
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pa...
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Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pages. Musica Nova USA #6078853. Published by Musica Nova USA (A0.917410). Sinfonietta (alternate title SinfonÃa de Vino y Aceite de Magallon) is a composition for concert band that can be played by any band whether it has 100 players or 30 players. It is at grade 3 level of difficulty and has several substitute parts for ensembles that may not have complete instrumentation. Although the scoring includes piccolo, oboes, bassoons, and French horns, these instruments are not needed to command a good performance.Sinfonietta adheres to classical forms of symphonies by composers such as Mozart, Haydn and Beethoven. The forms are very clear so the players of the band can learn this important history. The first movement is in standard Sonata Allegro form.The second movement is in A B A form and features a solo trumpet. The third movementis in a Rondo form (A B A C A) with three distinct themes. The work was commissioned in 2017 by the town of Magallón, Spain in celebration of the town’s industries of wine and olive oil. The mayor of the town of 1,000 inhabitants, Victor Manuel Chueca Rodriguez, was specific in his request for a composition at grade 3 level of difficulty. He also suggested the title as Symphony. Since it a three-movement composition instead of a four-movement composition (the normal Minuet and Trio movement is not included in this piece), the title of Sinfonietta instead of Symphony is used.Gregory Fritzeis a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositionsfor orchestra, band, chamber ensemblesand soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d'Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria, and others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$75.00
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