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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
King\\\\\\\\\\\\\\\ Baroque
Non classifié
1 307
Piano & claviers
Piano seul
241
Instruments en Do
221
Piano Facile
168
Piano, Voix
123
Orgue
39
Piano, Voix et Guitare
33
Piano Trio: piano, violon, violoncelle
33
1 Piano, 4 mains
10
Piano Quatuor: piano, violon, alto, violoncelle
6
Clavecin
4
Accompagnement Piano
2
Orgue, Trompette (duo)
2
Orgue, Piano (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
2 Pianos, 4 mains
1
Fake Book
1
+ 11 instrumentations
Retracter
Guitares
Mandoline
101
Guitare
46
Guitare notes et tablatures
16
Ukulele
9
2 Guitares (duo)
7
Dulcimer
5
Ligne De Mélodie, (Paroles) et Accords
3
Ensemble de guitares
2
4 Guitares (Quatuor)
2
3 Guitares (trio)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
61
Voix seule
30
Chorale 3 parties
14
Chorale TTBB
6
Voix Soprano, Orchestre
5
Voix Soprano, Piano
5
Chorale SSAA
4
Voix moyenne, Piano
4
Chorale 2 parties
3
Voix basse, Piano
2
Voix haute
2
Voix basse
1
Chorale SSAATTBB
1
Chorale Unison
1
Voix Alto, Piano
1
+ 10 instrumentations
Retracter
Vents
Flûte traversière et Piano
93
Clarinette et Piano
86
Saxophone Alto et Piano
70
Quatuor de Saxophones: 4 saxophones
67
2 Flûtes traversières (duo)
63
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
63
2 Saxophones (duo)
57
Saxophone Tenor et Piano
54
Saxophone Soprano et Piano
54
Quintette de Saxophone: 5 saxophones
47
Flûte, Hautbois, Clarinette, Basson
46
Hautbois, Piano (duo)
44
Flûte traversière
33
Clarinette
29
Quatuor de Clarinettes: 4 clarinettes
29
2 Clarinettes (duo)
28
3 Saxophones (trio)
27
Ensemble de saxophones
26
Hautbois, Basson (duo)
22
Saxophone Baryton, Piano
22
Quatuor de Flûtes : 4 flûtes
18
Saxophone Alto
17
2 Hautbois (duo)
16
Flûte, Hautbois, Clarinette (trio)
15
Ensemble de Clarinettes
15
Flûte, Violoncelle
14
Hautbois
13
Saxophone Baryton
12
Flûte, Clarinette et Basson
12
3 Clarinettes (trio)
12
Saxophone Tenor
12
Hautbois, Violoncelle
11
Saxophone Soprano
11
Trio de Flûtes: 3 flûtes
10
Clarinette, Basson (duo)
10
Quintette de Flûte : 5 flûtes
10
Flûte, Clarinette (duo)
10
Clarinette, Violoncelle (duo)
10
Cor anglais, Piano
9
Quintette de Clarinettes: 5 clarinettes
9
Flûte à bec Soprano
8
Flûte à bec Alto
8
Hautbois, Clarinette, Basson (trio d'anches)
8
Clarinette Basse, Piano
8
Flûte, Hautbois, Basson
7
Hautbois (partie séparée)
7
Ensemble de Flûtes
6
Flûte à Bec
6
2 Flûte à bec (duo)
5
Clarinette et Alto
5
Quatuor de Flûtes à bec
5
Flûte, Alto (duo)
5
Hautbois, Clarinette (duo)
4
Flûte, Violon
4
2 Saxophones, Piano
4
Flûte, Violon et Violoncelle
3
Clarinette, Harpe (duo)
3
Flûte et Guitare
3
Clarinette, Guitare (duo)
3
Clarinette (partie séparée)
3
5 Flûtes à bec
3
Cor Anglais
3
Flûte, Trombone (duo)
3
3 Flûtes à bec (trio)
2
2 Clarinettes, Basson
2
Flûte à bec Alto, Piano
2
Flûte, Violon, Piano
2
Clarinette, Trombone (duo)
2
Clarinette Basse
2
2 Clarinettes, Piano
1
Clarinette, Violon (duo)
1
2 Flûtes traversières, Piano
1
Flûte, Basson et Piano
1
Flûte traversière, Orchestre
1
Hautbois, Harpe
1
Flûte, Violoncelle, Piano (trio)
1
Ensemble de Hautbois
1
Flûte à bec Soprano, Piano
1
Saxophone (partie séparée)
1
Clarinette, Orchestre
1
Flûte, Clarinette, Piano (trio)
1
2 Hautbois, Piano
1
Piccolo
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
+ 79 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
75
Trompette, Piano
68
Trombone et Piano
57
Ensemble de Trompettes
43
Cor et Piano
41
Quatuor de Cuivres : 2 trompettes, trombone, tuba
40
Trompette
30
Tuba et Piano
26
Trombone
25
2 Trombones (duo)
22
2 Trompettes (duo)
21
Cor
20
Tuba
18
2 Cors (duo)
16
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Ensemble de Trombones
15
Cor anglais, Piano
9
Trompette, Trombone (duo)
9
Quatuor de Cuivres
8
Quatuor de cuivres: 4 trombones
8
2 Tubas (duo)
6
Euphonium, Piano (duo)
6
Cor, Violoncelle (duo)
5
Cor, Orchestre
5
Trompette, Violoncelle (duo)
5
Cor et Basson (duo)
4
Quatuor de cuivres: 4 cors
4
Quatuor de cuivres: 4 trompettes
4
Trompette (partie séparée)
4
3 Trombones (trio)
4
Ensemble de Cors
3
3 Trompettes (trio)
3
Cor, Tuba (duo)
3
Cor Anglais
3
Trompette, Basson (duo)
3
4 Tubas
2
Trompette, Cor (duo)
2
2 Euphoniums (duo)
2
Trio de Cuivres
2
Euphonium
2
Trombone basse et Piano
1
Trombone (partie séparée)
1
3 Tubas (trio)
1
2 Cors, Piano
1
3 Euphoniums
1
Trompette, Harpe
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Cor (duo)
1
Cor (partie séparée)
1
Trompette, Trombone, Piano
1
Cor et Harpe
1
+ 46 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
181
Violon et Piano
87
Alto, Piano
64
Violoncelle, Piano
51
Violon
45
Harpe
45
Violon, Violoncelle (duo)
37
Violoncelle
34
2 Violons (duo)
32
Trio à Cordes: violon, alto, violoncelle
30
Violon, Alto (duo)
27
Alto seul
22
Quintette à cordes: 2 violons, alto, violoncelle, basse
21
Trio à Cordes: 2 violons, violoncelle
19
2 Violoncelles (duo)
18
Contrebasse, Piano (duo)
17
2 Altos (duo)
15
Contre Basse
14
Violoncelle, Orchestre
11
Alto, Violoncelle (duo)
9
Violon, Basson (duo)
7
Violoncelle, Contrebasse (duo)
6
4 Violoncelles
6
Alto et Basson
6
Ensemble d'Altos
5
Flûte, Contrebasse (duo)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Violon, Guitare (duo)
5
2 Harpes (duo)
5
Trio à Cordes: 2 violons, alto
5
2 Contrebasses (duo)
4
Alto, Guitare (duo)
4
Trio à cordes: 3 violins
4
Ensemble de Violons
4
Harpe, Flûte (duo)
4
Trio à cordes: 3 altos
3
Alto (partie séparée)
3
Violoncelle, Basse continue
3
Trio à Cordes: 3 violoncelles
3
Harpe, Violon (duo)
3
Quatuor à cordes: 4 violons
3
2 Altos, Piano
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle , Guitare (duo)
2
Ensemble de Violoncelles
2
Harpe, Violoncelle (duo)
1
4 Contrebasses
1
Alto et Harpe
1
Violon (partie séparée)
1
Harpe, Trombone (duo)
1
2 Violoncelles, Piano
1
Quatuor à cordes : 4 altos
1
Violon, Violoncelle, Clarinette
1
Harpe, Violon, Violoncelle
1
+ 49 instrumentations
Retracter
Orchestre & Percussions
Orchestre
248
Orchestre à Cordes
50
Piano et Orchestre
33
Ensemble de cuivres
30
Orchestre de chambre
20
Orchestre d'harmonie
20
Orchestre, Violon
18
Ensemble Jazz
5
Xylophone, Piano
4
Cloches
2
Marimba
1
Voix et Orchestre
1
Quintette de Cuivres: autres combinaisons
1
Vibraphone
1
+ 9 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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302
Partitions Numériques
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26
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← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
King\\\\\\\\\\\\\\\ Baroque
Orchestre d'harmonie
Partitions à imprimer
20 partitions trouvées
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1
The Sun King for Concert Band
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Orchestre d'harmonie
#
FACILE
#
Classique
#
Mark Attebery
#
MarkAttebery.com
#
The Sun King for Concert Band
#
Mark Attebery Studio
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.933464 Composed by Mark Attebery. Baroque. Score and parts. 26 pages. Mark Attebery Studio #6735065. Published by Mark ...
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Concert Band - Level 2 - SKU: A0.933464 Composed by Mark Attebery. Baroque. Score and parts. 26 pages. Mark Attebery Studio #6735065. Published by Mark Attebery Studio (A0.933464). The Sun King is a level 2 - 2.5 Concert Band work evoking early wind bands of the French Baroque. This piece provides a great opportunity to introduce students to the history of the wind band. A stately and regal Sarabande opens and closes the work. A lively Tambourin in the middle section gradually builds back to the opening theme. Search on SMP for more titles from Mark Attebery Studio. MarkAttebery.com
$20.00
How Blest are Shepherds (from King Arthur) - for Concert Band
#
Orchestre d'harmonie
#
FACILE
#
Henry Purcell
#
Marc GARETTO
#
How Blest are Shepherds
#
Marc GARETTO - Harmonie Editions
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.722867 Composed by Henry Purcell. Arranged by Marc GARETTO. Baroque,Christian,Renaissance. Score and parts. 41 pages. M...
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Concert Band - Level 2 - SKU: A0.722867 Composed by Henry Purcell. Arranged by Marc GARETTO. Baroque,Christian,Renaissance. Score and parts. 41 pages. Marc GARETTO - Harmonie Editions #2030813. Published by Marc GARETTO - Harmonie Editions (A0.722867). How Blest are Shepherds is taken from the first English Opera King Arthur composed by Henry Purcell. This arrangement, quite simple, is perfect for a young or beginners concert band.
$46.00
How Blest are Shepherds (from King Arthur)
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Orchestre d'harmonie
#
Opera
#
Classique
#
Henry Purcell
#
Marc GARETTO
#
How Blest are Shepherds
#
Marc GARETTO - Harmonie Editions
#
SheetMusicPlus
Composed by Henry Purcell (1659-1695). Arranged by Marc GARETTO. Baroque Period, Opera. Score, Set of Parts. 41 pages. Published by Marc GARETTO - Harmonie Edit...
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Composed by Henry Purcell (1659-1695). Arranged by Marc GARETTO. Baroque Period, Opera. Score, Set of Parts. 41 pages. Published by Marc GARETTO - Harmonie Editions (S0.22067). - Score,Set of Parts - Baroque Period,Opera - Marc GARETTO - Harmonie Editions
$42.50
Golden Helmet Of Cortez
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Orchestre d'harmonie
#
INTERMÉDIAIRE
#
the end of 1520, he had won Me
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Randy A
#
Golden Helmet Of Cortez
#
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
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C - Score Only
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
George Frideric Handel
#
Thomas Graf
#
Messiah - Hallelujah - HWV 56
#
Thomas Graf - the-hit-factory.com
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1112084 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Sco...
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Concert Band - Level 3 - SKU: A0.1112084 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 15 pages. Thomas Graf - the-hit-factory.com #714268. Published by Thomas Graf - the-hit-factory.com (A0.1112084). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Soprano Alto Tenor Bass Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar 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.
$10.00
Messiah - Hallelujah - HWV 56 - Concert Band - C - Score Only
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
George Frideric Handel
#
Thomas Graf
#
Messiah - Hallelujah - HWV 56
#
Thomas Graf - the-hit-factory.com
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1112086 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Sco...
(+)
Concert Band - Level 3 - SKU: A0.1112086 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 15 pages. Thomas Graf - the-hit-factory.com #714270. Published by Thomas Graf - the-hit-factory.com (A0.1112086). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar 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.
$10.00
2 Classical Favourites for School Band (volume one)
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Orchestre d'harmonie
#
DÉBUTANT
#
Classique
#
Antonio Vivaldi, Edvard Grieg
#
David Burndrett
#
2 Classical Favourites for Sch
#
David Burndrett
#
SheetMusicPlus
Concert Band - Level 1 - SKU: A0.554493 Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque,Romantic Period. Score and Parts...
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Concert Band - Level 1 - SKU: A0.554493 Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque,Romantic Period. Score and Parts. 50 pages. David Burndrett #1909681. Published by David Burndrett (A0.554493). No.1 Autumn (First Movement From The Four Seasons) No.2 In The Hall of The Mountain King These are two easy, flexible and fun pieces for school band. I have added an optional piano part.Download includes the score and all of the parts.
$12.95
Messiah - Hallelujah - HWV 56 - Concert Band - C
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
George Frideric Handel
#
Thomas Graf
#
Messiah - Hallelujah - HWV 56
#
Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1112074 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Sco...
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Concert Band - Level 3 - SKU: A0.1112074 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 75 pages. Thomas Graf - the-hit-factory.com #714263. Published by Thomas Graf - the-hit-factory.com (A0.1112074). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar 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
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C
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Orchestre d'harmonie
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INTERMÉDIAIRE
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George Frideric Handel
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Thomas Graf
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Messiah - Hallelujah - HWV 56
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1112072 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Sco...
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Concert Band - Level 3 - SKU: A0.1112072 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 83 pages. Thomas Graf - the-hit-factory.com #714259. Published by Thomas Graf - the-hit-factory.com (A0.1112072). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Will work fine both with and without Choir. Vocal parts included. Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Soprano Alto Tenor Bass Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar 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.
$30.00
Excerpts from Water Music
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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Arild Mjaaland
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Excerpts from Water Music
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Arild Mjaaland
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1142926 Composed by George Frideric Handel. Arranged by Arild Mjaaland. Baroque,Classical,Early Music. Score and Parts....
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Concert Band - Level 4 - SKU: A0.1142926 Composed by George Frideric Handel. Arranged by Arild Mjaaland. Baroque,Classical,Early Music. Score and Parts. 198 pages. Arild Mjaaland #743296. Published by Arild Mjaaland (A0.1142926). The Water Music is a collection of orchestral movements, often published as three suites, composed by George Frideric Handel. It premiered on 17 July 1717, in response to King George I's request for a concert on the River Thames.
$40.00
A Fool's War for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Malachi Mathews
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A Fool's War for Concert Band
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Malachi Mathews
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1032693 Composed by Malachi Mathews. Baroque,Renaissance,Standards. Score and parts. 53 pages. Malachi Mathews #5218923...
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Concert Band - Level 4 - SKU: A0.1032693 Composed by Malachi Mathews. Baroque,Renaissance,Standards. Score and parts. 53 pages. Malachi Mathews #5218923. Published by Malachi Mathews (A0.1032693). A Bold and Medieval rendition of a siege of a castle and the fight of foolish lords talking over one another and creating a giant mess. a great composition for a Concert Band with many dark harmonies that will be challenging for the ear. A conductor's score along with parts is available or just the conductor's score. All instrument parts can be reprinted by the buyer for band use.
$12.00
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: 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
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
Ave Maria (Giulio Caccini) - Soprano and Concert Band
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Orchestre d'harmonie
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FACILE
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Musique Sacrée
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Giulio Caccini
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Raymond Fenech
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Ave Maria
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Raymond Fenech
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.879775 Composed by Giulio Caccini. Arranged by Raymond Fenech. Baroque,Praise & Worship,Sacred,Spiritual,Wedding. Score...
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Concert Band - Level 2 - SKU: A0.879775 Composed by Giulio Caccini. Arranged by Raymond Fenech. Baroque,Praise & Worship,Sacred,Spiritual,Wedding. Score and parts. 37 pages. Raymond Fenech #486183. Published by Raymond Fenech (A0.879775). This is a beautiful aria by a wonderful Baroque composer Giulio Caccini (1551 - 1618). It is arranged for Concert Band and Soprano voice, and it could also be sung with a choir. If you are looking for something special listen to this arrangement. The level of this piece is Early Intermediate and the duration is just over 6 minutes.
$35.00
Prelude and Fugue in G, BWV 541 for concert band
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Garden City Winds
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Rudy Volkmann
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Prelude and Fugue in G, BWV 54
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Rudy Volkmann
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1222423 By Garden City Winds. By Johann Sebastian Bach. Arranged by Rudy Volkmann. Baroque. Score and Parts. 106 pages....
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Concert Band - Level 5 - SKU: A0.1222423 By Garden City Winds. By Johann Sebastian Bach. Arranged by Rudy Volkmann. Baroque. Score and Parts. 106 pages. Rudy Volkmann #818679. Published by Rudy Volkmann (A0.1222423). This is one of Bach's major (but rarely heard) preludes and fugues. Â Inspired by the Eugene Ormandy recordings of other Bach works with the Philadelphia Orchestra in the 1960's, I have been tweaking this arrangement for concert band for over forty years - this final arangement is a wonderful vehicle for a good symphonic band.There is no percussion.
$60.00
Rhapsody for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00
Loure
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Orchestre d'harmonie
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DÉBUTANT
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Beth Ratay
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Loure
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T.U.X. People's Music
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1090143 Composed by Beth Ratay. Classical,Contest,Festival,Instructional,Multicultural,Traditional,World. Score and par...
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Concert Band - Level 1 - SKU: A0.1090143 Composed by Beth Ratay. Classical,Contest,Festival,Instructional,Multicultural,Traditional,World. Score and parts. 29 pages. T.U.X. People's Music #694321. Published by T.U.X. People's Music (A0.1090143). Built on the foundations of French dance, Beth Ratay's newest work for young band is the perfect work for any ensemble seeking to explore new sounds. Utilizing Baroque inspiration, as well as the Dorian mode, Loure is the perfect opportunity to teach your band and show your audience something new!
$60.00
Sheep May Safely Graze (Flexible Instrumentation)
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Orchestre d'harmonie
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FACILE
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Classique
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Johann Sebastian Bach and Paul
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Paul Barker
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Sheep May Safely Graze
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Paul Barker Music
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.725144 By Johann Sebastian Bach and Paul Barker Music. By Johann Sebastian Bach. Arranged by Paul Barker. Baroque,Class...
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Concert Band - Level 2 - SKU: A0.725144 By Johann Sebastian Bach and Paul Barker Music. By Johann Sebastian Bach. Arranged by Paul Barker. Baroque,Classical,Contemporary,Contest,Festival,Rock. Score and parts. 62 pages. Paul Barker Music #3535725. Published by Paul Barker Music (A0.725144). Bach’s Sheep May Safely Graze is another great arrangement in a rock/pop ballad style for Flexi-Band, Orchestras and Bands of all sizes. Strong melodic lines using Bach’s famous vocal themes together with modern harmony supported by a robust rhythm section make this suitable for any combination of players. Backing track featuring Rhythm Section also available from www.paulbarkermusic.com The Flexi-Band Classical Pop Series allows conductors to mix and match orchestration to meet available resources. Piano, Drum Kit/Set, Rhythm Guitar and Bass Guitar provide strong harmonic and rhythmical support for common combinations of C, Bb, Eb, F, Treble/Viola/Bass Clef instruments including Lead Guitar and Nuvo instruments. ​Duration: 2:30 Level: Early Intermediate - Intermediate (UK Grades 3+ and USA Grade 2+) Occasion: General Concert - Band Repertoire - Ensemble Examinations Orchestration: Flexi-Band (Mix & Match Orchestration)
$29.95
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