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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
The Other Wise Man - Contrabass
Non classifié
281
Piano & claviers
Piano seul
48
Piano, Voix
12
2 Pianos, 4 mains
7
Orgue
6
Piano Facile
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano, Voix et Guitare
2
1 Piano, 4 mains
1
Instruments en Do
1
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
1
Piano (partie séparée)
1
+ 7 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
15
Guitare notes et tablatures
4
Guitare
2
4 Guitares (Quatuor)
2
Guitare (partie séparée)
2
Voix
Chorale SATB
27
Pack Instrumental pour Chorale
13
Chorale 3 parties
10
Chorale 2 parties
9
Chorale TTBB
6
Chorale SSAA
3
Voix duo, Piano
2
Voix Mezzo-Soprano, Piano
1
Chorale Unison
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
27
Clarinette et Piano
20
Saxophone Soprano et Piano
18
Saxophone Tenor et Piano
17
Saxophone Baryton, Piano
15
Hautbois, Piano (duo)
14
Saxophone Alto et Piano
13
Clarinette Basse, Piano
12
Cor anglais, Piano
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Flûte, Hautbois, Clarinette, Basson
6
Ensemble de saxophones
6
Clarinette
6
Saxophone (partie séparée)
5
Ensemble de Clarinettes
5
Ensemble de Flûtes
4
Quintette de Saxophone: 5 saxophones
4
Quatuor de Clarinettes: 4 clarinettes
3
Quatuor de Saxophones: 4 saxophones
3
2 Flûtes traversières (duo)
3
Quintette de Flûte : 5 flûtes
2
3 Saxophones (trio)
2
Flûte traversière
2
Quatuor de Flûtes : 4 flûtes
1
2 Saxophones (duo)
1
Flûte, Clarinette (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Harpe (duo)
1
2 Clarinettes, Piano
1
2 Flûte à bec (duo)
1
Flûte, Hautbois, Basson
1
3 Clarinettes (trio)
1
Quintette de Clarinettes: 5 clarinettes
1
Hautbois, Flûte
1
Clarinette, Alto et Piano (trio)
1
Flûte, Violon et Violoncelle
1
Flûte, alto et harpe
1
Flûte, trombone et piano
1
Clarinette, Violon (duo)
1
Flûte, Basson et Piano
1
Flûte, Violoncelle
1
Cor anglais et Harpe (duo)
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Alto et Piano
1
Piccolo, Piano
1
+ 40 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trombone et Piano
19
Euphonium, Piano (duo)
17
Cor et Piano
16
Quatuor de Cuivres
13
Cor anglais, Piano
11
Ensemble de Trombones
6
Trompette, Piano
6
Trombone (partie séparée)
5
Trompette
5
Ensemble de Trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trompette (partie séparée)
3
Ensemble de Cors
3
Trompette, Trombone (duo)
3
Tuba et Piano
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Quatuor de cuivres: 4 trombones
1
Cor anglais et Harpe (duo)
1
Trio de Cuivres
1
+ 16 instrumentations
Retracter
Cordes
Alto, Piano
22
Violon, Violoncelle (duo)
17
Quatuor à cordes: 2 violons, alto, violoncelle
16
Violon et Piano
13
Violoncelle, Piano
11
Trio à Cordes: violon, alto, violoncelle
7
Violoncelle
4
Violon
4
Harpe
3
Ensemble de Violons
2
Harpe, Flûte (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: 3 violoncelles
1
Contrebasse (partie séparée)
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
4 Violoncelles
1
Violon (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Piano Trio: Violon, Alto, Piano
1
Ensemble d'Altos
1
Alto, Guitare (duo)
1
Trio à cordes: 3 violins
1
+ 18 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
9
Ensemble de cuivres
6
Orchestre à Cordes
5
Orchestre
5
Ensemble Jazz
3
Orchestre de chambre
3
Cloches
2
Batterie (partie séparée)
1
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Autres
Formation musicale - Solfège
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Instruments
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BASSE
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BATTERIE
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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…
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VIOLON
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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
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XYLOPHONE
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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…
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Vous avez sélectionné:
The Other Wise Man - Contrabass
Orchestre d'harmonie
Partitions à imprimer
9 partitions trouvées
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1
Chorale on Friedman's Shalom Aleichem
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Orchestre d'harmonie
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INTERMÉDIAIRE
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the time Debbie Friedman died
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Dan Dickerman
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Chorale on Friedman's Shalom A
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True Indie Media
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1031499 Composed by Dan Dickerman. Contemporary,Jewish. Score and parts. 44 pages. True Indie Media #3424827. Published...
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Concert Band - Level 3 - SKU: A0.1031499 Composed by Dan Dickerman. Contemporary,Jewish. Score and parts. 44 pages. True Indie Media #3424827. Published by True Indie Media (A0.1031499). Bringing folk melodies into modern repertoire has a long tradition, with many iconic works simultaneously celebrating and preserving melodies which might otherwise have been lost to history. Here we have the opportunity to celebrate and preserve a melody just as it starts to find its way in the musical world. By the time Debbie Friedman died in January 2011, just shy of her 60th birthday, she had created a large collection of music loved throughout the world’s Jewish community. She embodied the idea that each generation has a responsibility to contribute to the canon of sacred music, and her settings of liturgical texts have been sung regularly for decades. Her setting of Mi Shebeirach, the prayer for healing, is likely her most familiar tune, but Shalom Aleichem is a beautiful capstone to her legacy. It was in an early stage at the time of her death, having shared the melody among a few groups. This melody has since been sung worldwide, beginning with Friedman’s own memorial and the following Sabbath of Song (Shabbat Shira), and it has begun to take its rightful place in the liturgical canon. The music here is ordered as it would be sung: starting with a presentation of the chorus theme by clarinets in SATB choir voicing, with more of the band joining-in with each repetition of the theme or chorus. The melody and countermelodies move among the different sections until the full band has taken up the tune while the euphonium, horn, and clarinet weave a contrapuntal line through it. Slowly, the joy of the full band is stripped away, exposing the more solemn sound of a brass choir, juxtaposing the joy brought to so many by Ms. Friedman during her life with a quiet reflection at its end.Â
$54.00
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
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
The Three-Cornered Hat (El sombrero de tres picos) Suite No.2: 1 & 2 (8/5 x 11)
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Orchestre d'harmonie
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AVANCÉ
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Manuel de Falla
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Shinji Kasama
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The Three-Cornered Hat
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1265614 Composed by Manuel de Falla (1876-1946). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts...
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Concert Band - Level 5 - SKU: A0.1265614 Composed by Manuel de Falla (1876-1946). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 192 pages. Kasama Music Corporation #858387. Published by Kasama Music Corporation (A0.1265614). [This Publication is in letter size (8/5 x 11). A4 size is also available.]The Three-Cornered Hat (El sombrero de tres picos) Suite No.2 The Neighbour’s Dance (Seguidilla) The Miller’s Dance (Farruca) Manuel de Falla wrote the two-act ballet, The Three-Cornered Hat (El sombrero de tres picos), by revising his earlier stage work, El corregidor y la molinera. The composer also extracted two concert suites from the ballet. The second suite consists of three dances from the second half of the ballet.The Neighbour’s Dance, a seguidilla, and The Miller’s Dance, a farruca, are the first two dances of the second act, as well as the first two movements of the second suite, followed by Final Dance (KM 019). Otherwise, the two characteristic dances can be programmed independently or as a contrasting pair.This transcription is for concert band with full score (pp. 1–31), piccolo–harp (pp. 33–141), and transposed parts (pp. 142–192).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.
$17.50
The Three-Cornered Hat (El sombrero de tres picos) Suite No.2: 1 & 2 (A4)
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Orchestre d'harmonie
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AVANCÉ
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Manuel de Falla
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Shinji Kasama
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The Three-Cornered Hat
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1265618 Composed by Manuel de Falla (1876-1946). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts...
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Concert Band - Level 5 - SKU: A0.1265618 Composed by Manuel de Falla (1876-1946). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 192 pages. Kasama Music Corporation #858392. Published by Kasama Music Corporation (A0.1265618). [This Publication is in A4 size. Letter size (8/5 x 11) is also available.]The Three-Cornered Hat (El sombrero de tres picos) Suite No.2 The Neighbour’s Dance (Seguidilla) The Miller’s Dance (Farruca) Manuel de Falla wrote the two-act ballet, The Three-Cornered Hat (El sombrero de tres picos), by revising his earlier stage work, El corregidor y la molinera. The composer also extracted two concert suites from the ballet. The second suite consists of three dances from the second half of the ballet.The Neighbour’s Dance, a seguidilla, and The Miller’s Dance, a farruca, are the first two dances of the second act, as well as the first two movements of the second suite, followed by Final Dance (KM 019). Otherwise, the two characteristic dances can be programmed independently or as a contrasting pair.This transcription is for concert band with full score (pp. 1–31), piccolo–harp (pp. 33–141), and transposed parts (pp. 142–192).A printed score is available for purchase at www.kasamamusic.com.
$17.50
Happy to be Here
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Dan Dickerman
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Happy to be Here
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True Indie Media
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1500458 Composed by Dan Dickerman. 21st Century,Classical,Contemporary,Contest,Festival. 113 pages. True Indie Media #1...
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Concert Band - Level 4 - SKU: A0.1500458 Composed by Dan Dickerman. 21st Century,Classical,Contemporary,Contest,Festival. 113 pages. True Indie Media #1076543. Published by True Indie Media (A0.1500458). Marking the year milestone following his cancer diagnosis, composer Dan Dickerman created this piece chronicling his year's struggles and successes. It follows the tension of the many stages and emotions of that time through changing meter, feel, and mode while keeping pulse and key constant, always pushing forward. The piece hinges around odd-meter clockwork sections in the mallet percussion, while the bulk of the tune otherwise flows in variations of straight-4 or cut time. After much interplay balancing full ensemble sections against smaller groups, a brief solo/trio section leads toward a full-band chorale which is interrupted by an MRI machine, the return to the piece's central themes, and a celebratory finish.Grade 46 minutesISMN 979-0-800146-02-2
$108.00
Symphony no. 94 in G "Surprise" - II mov
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Orchestre d'harmonie
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FACILE
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Classique
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Franz Joseph Haydn
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Arild Mjaaland
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Symphony no. 94 in G "Sur
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Arild Mjaaland
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1004988 Composed by Franz Joseph Haydn. Arranged by Arild Mjaaland. Classical. Score and parts. 50 pages. Arild Mjaalan...
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Concert Band - Level 2 - SKU: A0.1004988 Composed by Franz Joseph Haydn. Arranged by Arild Mjaaland. Classical. Score and parts. 50 pages. Arild Mjaaland #5375993. Published by Arild Mjaaland (A0.1004988). Haydn's music contains many jokes, and the Surprise Symphony includes probably the most famous of all: a sudden fortissimo chord at the end of the otherwise piano opening theme in the variation-form second movement. The music then returns to its original quiet dynamic as if nothing has happened, and the ensuing variations do not repeat the joke.
$20.00
Umbrellas Of Cherbourg
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Bud Shank
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John Ivor Holland
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Umbrellas Of Cherbourg
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1228293 By Bud Shank. By Jacques Louis Raymond Marcel Demy and Michel Legrand. Arranged by John Ivor Holland. 20th Cent...
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Concert Band - Level 4 - SKU: A0.1228293 By Bud Shank. By Jacques Louis Raymond Marcel Demy and Michel Legrand. Arranged by John Ivor Holland. 20th Century,Broadway,Film/TV,Musical/Show,Standards. Score and Parts. 36 pages. John Ivor Holland #824410. Published by John Ivor Holland (A0.1228293). The Umbrellas of Cherbourg ('Les Parapluies de Cherbourg') is a 1964 French romantic-drama-musical film written and directed by Jacques Demy, with music and lyrics by Michel Legrand, winning the Palme d'Or at the 1964 Cannes Film Festival and nominated for several Oscars; it was also adapted into an English-language stage musical. This enigmatic main title theme is otherwise known as the song (with English lyrics) I Will Wait For You and opens with a quartet of flute, horn, alto saxophone and bass clarinet, moving chromatically through several keys to its sultry conclusion. A wonderful slice of French song-writing that will provide a contrasting slower moment in any concert and highlight your star players.
$49.99
Accentus
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Orchestre d'harmonie
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Gary Gazlay
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Accentus
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Imagine Music - Digital
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SheetMusicPlus
Concert Band - SKU: IZ.CBW221 Composed by Gary Gazlay. Score and Parts. 61 pages. Imagine Music - Digital #CBW221. Published by Imagine Music - Digital ...
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Concert Band - SKU: IZ.CBW221 Composed by Gary Gazlay. Score and Parts. 61 pages. Imagine Music - Digital #CBW221. Published by Imagine Music - Digital (IZ.CBW221). 9 x 12 inches.Some years back, during a series of retreats, prayerful reflection on the “servantpassages from the book of the prophet Isaiah (Is. 40-53) coalesced into what wouldbecome an eight-movement cantata entitled: The Servant of Yahweh.“How Beautiful on the Mountain represents movement three of that larger work - aLenten cantata highlighting key aspects of the life, death, and resurrection of Jesus,viewed through the lens of the aforementioned servant passages.“How Beautiful on the Mountain (from Is.52 ff) attempts to capture in two sections thejoyful vision of God's people being led back to Zion from exile in Babylon. Israel'sdeliverer is near, proclaiming peace, bearing good news, announcing salvation, leadingIsrael back to Jerusalem. The New Testament likewise speaks of deliverance frombondage – bondage from sin, and healing of the breach between God and humanity. It isthrough the passion, death, and resurrection of Jesus that this deliverance isaccomplished. In both cases, there is cause for great joy.Musically, movement from the more subdued preface (part 1) to the festive Latin groove(part 2) conveys the transition from journey to jubilation.The present rendition, written for SATB choir and piano with optional flute and oboemarks the latest evolution in the work's arrangement history. The originalaccompaniment included guitar, bass, drum, flute and electric violin. However, in 2009,through a collaboration with bassist/arranger, Perry Orfanella, a full orchestral score wasdeveloped. Most recently, in order to make the piece more accessible to church choirsand other choral groups, Phil Sims (musician/arranger and partner of Imagine MusicPublishing) reduced the orchestral score and completed the present arrangement forpiano and SATB choir.
$50.00
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The Other Wise Man - Contrabass
