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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
Can Sonata
Non classifié
593
Piano & claviers
Piano seul
1 095
Piano Facile
35
Orgue
18
Instruments en Do
5
Piano, Voix
5
2 Pianos, 4 mains
3
Clavecin
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
2
1 Piano, 4 mains
2
Accordéon
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Trio: piano, violon, violoncelle
2
Piano, Voix et Guitare
1
Accompagnement Piano
1
+ 10 instrumentations
Retracter
Guitares
Guitare
57
Guitare notes et tablatures
29
Piano, Guitare (duo)
7
2 Guitares (duo)
6
Ukulele
3
3 Guitares (trio)
1
Ligne De Mélodie, (Paroles) et Accords
1
Orchestre à Plectres
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
4
Voix Baryton, Piano
3
Voix duo, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale 2 parties
1
Vents
Flûte traversière
370
Flûte à Bec
94
Flûte traversière et Piano
64
3 Saxophones (trio)
56
Clarinette
52
3 Clarinettes (trio)
47
Flûte, Hautbois, Clarinette (trio)
46
Clarinette et Piano
41
Flûte, Hautbois, Basson
41
Flûte, Clarinette et Basson
38
Saxophone Alto et Piano
36
Flûte, Violon et Violoncelle
32
Hautbois, Piano (duo)
31
2 Clarinettes (duo)
30
2 Clarinettes, Basson
25
Flûte, Violoncelle
24
Hautbois, Basson (duo)
23
Trio de Flûtes: 3 flûtes
23
2 Flûtes traversières (duo)
21
Clarinette et Alto
20
Flûte, Clarinette (duo)
18
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
18
2 Saxophones (duo)
18
Clarinette, Violoncelle (duo)
17
3 Flûtes à bec (trio)
17
Clarinette, Violon (duo)
17
Saxophone Tenor et Piano
17
Hautbois, Clarinette (duo)
16
Flûte, Hautbois, Clarinette, Basson
16
Quatuor de Saxophones: 4 saxophones
15
Saxophone Soprano et Piano
15
Clarinette, Basson (duo)
14
Flûte et Guitare
13
Flûte, Alto (duo)
12
Flûte à bec Soprano
10
Saxophone
10
Quintette de Clarinette: Clarinette, Quatuor à Cordes
9
Saxophone Baryton, Piano
9
Ensemble de Clarinettes
9
Hautbois, Clarinette, Basson (trio d'anches)
9
2 Flûte à bec (duo)
8
Quatuor de Clarinettes: 4 clarinettes
8
Flûte à bec Soprano, Basse continue
7
Clarinette Basse, Piano
7
Cor anglais, Piano
7
Saxophone Tenor
5
Saxophone Alto
5
Hautbois
4
Flûte, Alto et Violoncelle
4
2 Hautbois (duo)
4
Flûte traversière, Basse continue
4
Clarinette (partie séparée)
3
Saxophone, Clarinette (duo)
3
Quintette de Saxophone: 5 saxophones
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte à bec Soprano, Piano
3
2 Cors Anglais Et Pianoforte
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Trompette (duo)
2
Clarinette, Orchestre
2
Ensemble de Flûtes
2
Piccolo, Piano
2
Flute, harpe et violon
2
2 Flûtes traversières, Piano
2
Flûte à bec Alto, Piano
2
Ensemble de saxophones
1
Hautbois, Flûte
1
Flûte, Basson et Piano
1
Harmonica
1
Flûte, Saxophone (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
5 Flûtes à bec
1
2 Hautbois et Basson
1
Clarinette, Guitare (duo)
1
Flûte, Trompette (duo)
1
Quatuor de Flûtes à bec
1
Quintette de Flûte : 5 flûtes
1
Flûte, Violon
1
Saxophone et Orgue
1
Saxophone (partie séparée)
1
Flûte, alto et harpe
1
Flûte, Violon, Piano
1
Hautbois (partie séparée)
1
Ensemble De Flûte à bec
1
+ 79 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Trombone et Piano
23
Trompette, Piano
21
Trompette
17
Cor et Piano
15
2 Trombones (duo)
11
Euphonium, Piano (duo)
11
2 Trompettes (duo)
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
2 Cors (duo)
7
Tuba et Piano
7
Quatuor de Cuivres
7
Trombone
7
Cor anglais, Piano
7
Trompette (partie séparée)
6
Cor
6
Quatuor de cuivres: 4 trombones
5
Trompette, Trombone (duo)
3
2 Tubas (duo)
3
Ensemble de Trombones
3
2 Euphoniums (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
4 Tubas
3
Ensemble de Cors
3
2 Cors Anglais Et Pianoforte
2
Trio de Cuivres
2
Tuba
2
Trompette, Saxophone (duo)
2
Cor (partie séparée)
2
Tuba (partie séparée)
2
Trombone (partie séparée)
2
Trombone basse et Piano
1
Ensemble de Trompettes
1
Euphonium
1
Quatuor de cuivres: 4 trompettes
1
Euphonium, Tuba (duo)
1
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
+ 33 instrumentations
Retracter
Cordes
Violon
321
Violoncelle
106
Violon et Piano
98
Quatuor à cordes: 2 violons, alto, violoncelle
89
Violoncelle, Piano
53
Alto seul
48
Trio à Cordes: 2 violons, violoncelle
46
Alto, Piano
42
Violon, Violoncelle (duo)
35
2 Violons (duo)
30
Violon, Alto (duo)
30
Trio à Cordes: violon, alto, violoncelle
17
Harpe
15
2 Violons et Basse continue
14
Trio à cordes: 3 violins
14
2 Altos (duo)
13
Violon, Basson (duo)
12
Contre Basse
12
2 Violoncelles (duo)
9
Trio à Cordes: 3 violoncelles
5
Alto, Violoncelle (duo)
5
Violon (partie séparée)
5
Flûte, Contrebasse (duo)
5
Violoncelle, Contrebasse (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Violoncelle, Orchestre
4
2 Contrebasses (duo)
4
Violoncelle, Basse continue
4
Contrebasse, Piano (duo)
4
4 Violoncelles
4
Trio à cordes
3
Violon, Basse continue
3
Alto (partie séparée)
2
Alto, Guitare (duo)
1
Violoncelle , Guitare (duo)
1
Violoncelle, Orgue
1
Quatuor à cordes: 4 violons
1
Harpe, Flûte (duo)
1
2 Violons, Piano
1
Ensemble de Violoncelles
1
Contrebasse (partie séparée)
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
46
Orchestre à Cordes
34
Orchestre
30
Orchestre d'harmonie
17
Ensemble de cuivres
5
Quintette à Vent
2
Ensemble Jazz
2
Ensemble de Percussions
2
Percussion
1
Percussion (partie séparée)
1
+ 5 instrumentations
Retracter
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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
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PIANO
SAXOPHONE
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TROMPETTE
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MARIAGE - AMOUR - BA…
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METHODE : TECHNIQUES
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Vous avez sélectionné:
Can Sonata
Orchestre d'harmonie
Partitions à imprimer
17 partitions trouvées
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1
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
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
Sonata # 1 - 3rd movement, for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Aere Greenway
#
Sonata # 1 - 3rd movement, for
#
Aere R Greenway
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.935333 Composed by Aere Greenway. Contemporary,Romantic Period. Score and parts. 41 pages. Aere R Greenway #6367167. Pu...
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Concert Band - Level 4 - SKU: A0.935333 Composed by Aere Greenway. Contemporary,Romantic Period. Score and parts. 41 pages. Aere R Greenway #6367167. Published by Aere R Greenway (A0.935333). In the mid 1960's, I performed the 3rd movement of my piano sonata at a school assembly, at the time a member of the high school band. Decades later, I have arranged this piece for concert band, so that a high school band, such as I was then in, can perform it. It's a lively, martial piece, just over 3 minutes long.
$14.97
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
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
Sinfonietta - A Symphony in Three Movements for Grade 3 Concert Band
#
Orchestre d'harmonie
#
FACILE
#
Gregory Fritze
#
Sinfonietta - A Symphony in Th
#
Musica Nova USA
#
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
Homage To Vivaldi
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Orchestre d'harmonie
#
AVANCÉ
#
Julia Perry
#
John Ivor Holland
#
Homage To Vivaldi
#
John Ivor Holland
#
SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1502793 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Multicultural,World. 109 pages. ...
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Concert Band - Level 5 - SKU: A0.1502793 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Multicultural,World. 109 pages. John Ivor Holland #1078459. Published by John Ivor Holland (A0.1502793). 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. 'Homage to Vivaldi' (alternatively known as 'Requiem for Orchestra') is built upon four short phrases by Italian Baroque composer Antonio Vivaldi and was composed in 1959; 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.
$79.99
Piano Concerto In Two Uninterrupted Speeds
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Orchestre d'harmonie
#
AVANCÉ
#
Julia Perry
#
John Ivor Holland
#
Piano Concerto In Two Uninterr
#
John Ivor Holland
#
SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1474986 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Contemporary,Contest,Festival,Mu...
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Concert Band - Level 5 - SKU: A0.1474986 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Contemporary,Contest,Festival,Multicultural,World. 126 pages. John Ivor Holland #1052577. Published by John Ivor Holland (A0.1474986). 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. 'Piano Concerto in Two Uninterrupted Speeds' was composed between 1964-1969 and 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.
$99.99
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
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
Short Piece For Large Orchestra
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Orchestre d'harmonie
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AVANCÉ
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Julia Perry
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John Ivor Holland
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Short Piece For Large Orchestr
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1184257 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Contemporary,Contest,Festival. S...
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Concert Band - Level 5 - SKU: A0.1184257 Composed by Julia Perry. Arranged by John Ivor Holland. 20th Century,Classical,Contemporary,Contest,Festival. Score and parts. 116 pages. John Ivor Holland #783973. Published by John Ivor Holland (A0.1184257). A fantastic work for more advanced bands, 'Short Piece' was originally composed by Julie Perry for chamber orchestra in 1952 and then expanded for full forces. The African-American composer and conductor was born in Kentucky, studying at Westminster Choir College and then Juilliard; she also worked with Nadia Boulanger, winning the Boulanger Grand Prix for her Viola Sonata. Her work includes a dozen symphonies and a pair of piano concertos; also three operas and a ballet. In the words of John Henken, this piece is 'an initially raucous, highly energised essay...There are edgy lyrical contrasts, and the work closes in a haunted Lento, before a whiplash ending returns the aggressive opening thunder.' Arranged to champion the music of women composers for band as part of a pledge throughout 2023 #ArrangeMeGoals2023.
$80.00
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
A peu del "Picayo"
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Salvador Rojo Gamón
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A peu del "Picayo"
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Salvador Rojo-Gamon
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.962401 Composed by Salvador Rojo Gamón. Contemporary,Instructional,Multicultural,Standards,World. Score and Parts. 4...
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Concert Band - Level 3 - SKU: A0.962401 Composed by Salvador Rojo Gamón. Contemporary,Instructional,Multicultural,Standards,World. Score and Parts. 48 pages. Salvador Rojo-Gamon #4897799. Published by Salvador Rojo-Gamon (A0.962401). AGRADECIMIENTOSAntes de nada dar las gracias a la Unión Musical de Algimia por confiar en mi para componer una composición que conmemore el 30 aniversario.Al peu del Picayo está como casi todas mis composiciones inspiradas en hechos ya sea verÃdicos o ficticios. En este aspecto tengo que agradecer a Helios Borja Cortijo su gran contribución a mis conocimientos sobre la historia de Algimia. Mis composiciones nunca narran historias, se inspiran en ellas, en los sentimientos que de ellas extraemos, sentimos o transmitimos, Estas historias tan sólo nos facilitan la comprensión de la obra.ANÃLISISFormalmente la obra está compuesta en la forma sonata, con algunas licencias respecto a la que podrÃamos calificar –si es posible- Sonata Escolástica.INTRODUCCIÓN Inicio hasta compás 59.La introducción comienza con el acompañamiento de un clúster de cinco notas octatónicas. A partir del segundo compás va apareciendo –siempre de forma desfigurada- el tema principal de esta composición. Este no aparecerá claramente hasta el compás 62TEMA PRINCIPALCompás 60 hasta 101Alrededor de la tonalidad de LA se construye el tema principal que aparece en los graves de la banda, pasando a los agudos mientras los graves hacen un canon a la 4ª Justa.A nivel comprensivo y tan sólo como recomendación diré que la introducción y el tema principal corresponden históricamente a ALGIMIA MUDEJARTEMA SECUNDARIOCompás 102 a 136Esta parte inspirada en la ÉPOCA MORISCA de Algimia está formada por diferentes elementos siendo cuatro los más importantes.Al igual que la Introducción el tema segundario está iniciado por un Clúster, en éste caso el Clúster es cromático.El siguiente elemento en aparecer –Corno Inglés- es el propio nombre de Algimia en movimiento contrario, tomando el Abecedario como modelo y partiendo de la nota LALa inquisición está representada por las trompetas y los trombones.Estos elementos están acompañados de la simbologÃa mayormente personal del número once, representado por los cuartos y las once campanadas.En el compás 112 aparece el Elemento Cristiano de este Tema Secundario, este está en modo Dórico, también llamado Protus o Auténtico. Primero aparece en el registro grave de la banda y posteriormente en el registro grave de las maderas.DESARROLLOCompás 137 hasta el 217Basado en el Periodo de la ÉPOCA CRISTIANA MODERNA elabora los elementos presentados en la exposición con cambios a veces muy significativos.Lo primera sensación es que estamos reexponiendo los materiales, sin embargo, se está creando una falsa reexposición que en este caso nos lleva a SIb dándonos sensación de cadencia rota con un inesperado SIb.Después de un breve comentario del Tema Secundario –Tema cristiano- aparece muy desfigurado el Tema principal en oposición al Tema Cristiano, éste último en modo octatónico.Tema PrincipalTema CristianoA partir del 182 está inspirado en la expulsión de los Moriscos. Después de una breve introducción con elementos del Tema Principal y del tema Cristiano, compases 182 a 189, aparece el Tema Principal en forma de llamamiento a la guerra. Éste se repite tres veces, una pequeña coda de tres compases 214 al 217 da paso a la reexposición.REEXPOSICIÓN
$100.00
The Poor Soldier Suite for Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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William Shield
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Brett L
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The Poor Soldier Suite for Ban
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Sonata Grendel Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.837498 Composed by William Shield. Arranged by Brett L. Wery. Classical. Score and parts. 272 pages. Sonata Grendel Pub...
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Concert Band - Level 4 - SKU: A0.837498 Composed by William Shield. Arranged by Brett L. Wery. Classical. Score and parts. 272 pages. Sonata Grendel Publishing #5776765. Published by Sonata Grendel Publishing (A0.837498). The score is formatted for 8.5 X 14 (legal) size paper and is 67 pages. The parts are formatted for 8.5 X 11 (letter) size paper. Duration: 16 minutes Written in 1783 by English composer William Shield to a famous libretto by Irish playwright John O’Keeffe, The Poor Soldier was a hit at its premier in November 1783 at Covent Garden in London. Quickly reaching American theaters by the following year, it became a frequently performed American Colonial musical theater piece, remaining in the repertory for over fifty years. So popular were the tunes from The Poor Soldier that even as late as 1850, some of the opera’s songs were music hall staples. Apparently George Washington adored this work and had excerpts performed for him at Mount Vernon. In 2008 I was hired to reconstruct the opera the The Poor Soldier from a series of piano sketches and individually sold arias dating back to the late eighteen hundreds. The 2008 production was premiered at SUNY Schenectady County Community College by Musicians of Ma’alwyck. This band suite was created in 2010 and premiered by the Capital Region Wind Ensemble.
$225.00
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
Doric Ouverture in F for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Contemporain
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Alberto Costa
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Doric Ouverture in F for Conce
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Alberto Costa
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1032401 Composed by Alberto Costa. Contemporary. Score and parts. 88 pages. Alberto Costa #4795993. Published by Albert...
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Concert Band - Level 3 - SKU: A0.1032401 Composed by Alberto Costa. Contemporary. Score and parts. 88 pages. Alberto Costa #4795993. Published by Alberto Costa (A0.1032401). Short sonata form ouverture for large concert band. Can be performed with less instruments as not all of them are essential. Single parts available on request.
$5.00
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
Fourth Symphonette for Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Walter Scholtes
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Fourth Symphonette for Band
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SCHOLTES EDITIONS
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1197341 Composed by Walter Scholtes. Traditional. Score and parts. 151 pages. SCHOLTES EDITIONS #796506. Published by S...
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Concert Band - Level 3 - SKU: A0.1197341 Composed by Walter Scholtes. Traditional. Score and parts. 151 pages. SCHOLTES EDITIONS #796506. Published by SCHOLTES EDITIONS (A0.1197341). The Fourth Symphonette for Band by Walter Scholtes is a 3-movement work.Appropriate for community and high school bands and many occasions and venues. Traditional harmonies with a transparent structure and texture make this work very accessible to players and audiences alike. The movements can also be played as individual pieces.For the first movement, the 'sonata' structure is indicated with the sections noted: 'Exposition, Development' etc.A condensed transposing conductor's score in C Â and all parts are supplied (151 pages).
$49.99
Third Symphonette for Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Walter Scholtes
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Third Symphonette for Band
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SCHOLTES EDITIONS
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1178158 Composed by Walter Scholtes. Traditional. Score and parts. 134 pages. SCHOLTES EDITIONS #778123. Published by S...
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Concert Band - Level 3 - SKU: A0.1178158 Composed by Walter Scholtes. Traditional. Score and parts. 134 pages. SCHOLTES EDITIONS #778123. Published by SCHOLTES EDITIONS (A0.1178158). The Third Symphonette for Band by Walter Scholtes is a 3-movement work. Appropriate for community bands, high school bands and for many occasions and venues.Traditional harmonies with transparent structure and texture make this work very accessible to players and audiences alike. The movements can also be played as individual pieces. For the first movement, the 'sonata' structure is indicated with the sections noted: Exposition, Development' etc.A condensed conductor's score in C Concert and all parts transposed are supplied (132 pages.)A full transposed conductor's score is available on request (35 pages).
$49.99
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