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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
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CHORALE - CHAN…
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Chorale SATB
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5
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4
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Quintette de Saxophone: 5 saxophones
93
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70
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70
Ensemble de Clarinettes
29
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13
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12
2 Saxophones (duo)
12
Flûte traversière et Piano
11
Saxophone Alto et Piano
9
Flûte traversière
9
Saxophone, Clarinette (duo)
8
Flûte, Hautbois, Clarinette, Basson
8
2 Flûtes traversières (duo)
7
Hautbois, Piano (duo)
7
Clarinette, Violon (duo)
6
Clarinette
6
Quatuor de Saxophones: 4 saxophones
6
Clarinette et Piano
6
2 Clarinettes (duo)
5
2 Hautbois (duo)
5
Saxophone Tenor et Piano
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Flûte, Clarinette (duo)
4
Hautbois (partie séparée)
4
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3
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Trio de Flûtes: 3 flûtes
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2
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2
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
77
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Ensemble de Trombones
27
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
Quatuor de Cuivres
16
Ensemble de Trompettes
15
Trompette
8
2 Trombones (duo)
7
Ensemble de Cors
5
Trompette, Saxophone (duo)
5
Euphonium, Piano (duo)
4
Trompette, Trombone (duo)
4
2 Trompettes (duo)
4
Trombone et Piano
4
Cor et Piano
3
2 Cors (duo)
3
Cor anglais, Piano
3
Tuba
2
Trio de Cuivres
2
Tuba et Piano
2
2 Tubas (duo)
2
Trompette, Piano
2
Trombone basse et Piano
1
Trombone
1
Quatuor de cuivres: 4 trombones
1
Cor
1
Bass Clef Instruments
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
20
Violon et Piano
18
Ensemble d'Altos
14
Ensemble de Violons
14
2 Violoncelles (duo)
10
Violon
10
Harpe
10
Violoncelle, Piano
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Alto, Piano
6
2 Altos (duo)
6
Violon, Alto (duo)
5
Violoncelle
5
2 Violons (duo)
5
Alto seul
4
Violon, Violoncelle (duo)
4
Trio à Cordes: violon, alto, violoncelle
3
4 Violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Alto, Violoncelle (duo)
2
Trio à Cordes: 2 violons, violoncelle
1
Alto et Basson
1
Quatuor à cordes: 4 violons
1
Contre Basse
1
Harpe, Voix
1
Quatuor à cordes : 4 altos
1
Ensemble de Violoncelles
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
82
Orchestre à Cordes
38
Orchestre
31
Orchestre de chambre
15
Ensemble de cuivres
14
Ensemble Jazz
6
2 Marimbas
1
Ensemble de Percussions
1
Piano et Orchestre
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AUTRES
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Once I Was There
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When I'm Sixty-four
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.588381 By The Beatles. By John Le…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.588381 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David McKeown. Rock. Individual part. 3 pages. David McKeown #5319407. Published by David McKeown (A0.588381). When I’m Sixty-Four first appeared on the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band. Despite the song’s appearance relatively late in the Beatles’ discography, it was one of the first songs that Paul McCartney wrote, at the age of 16. When the song was finally recorded in 1966, Paul McCartney felt it was too slow and turgid. George Martin simply solved the problem by speeding up the tape and raising the pitch by one semitone. This version of When I’m Sixty-Four is arranged in a suitable key and range for solo Trumpet. Piano/Guitar chords in concert pitch are also included above the stave.Musicians at an intermediate level will find this ideal for formal and informal concert performance. The overall performance time is around two and a half minutes. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
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The Beatles
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David McKeown
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When I'm Sixty-four
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David McKeown
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 1
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harr…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1018933 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072969. Published by Benjamin Sajo (A0.1018933). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.15 €
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Trompette
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Trumpet in C 2
Trompette
Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harr…
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Trumpet Solo - Level 5 - Digital Download SKU: A0.1018934 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072971. Published by Benjamin Sajo (A0.1018934). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.15 €
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Trompette
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Trumpet & Piano
Trompette
B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann…
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B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468158. Published by jmsgu3 (A0.549220). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and indeed the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
29.68 €
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Johann Sebastian Bach
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James M
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Bach: Bist du bei mir BWV 508 for Trumpet & Piano
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jmsgu3
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SheetMusicPlus
Carson Cooman - Newton Antiphonies (2008) for two or more trumpets
Trompette
Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman.…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.775966 Composed by Carson Cooman. Contemporary,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2034727. Published by Musik Fabrik Music Publishing (A0.775966). Newton Antiphonies (2008) for two or more trumpets was composed for the First Unitarian Society in Newton, Massachusetts on the occasion of its 160th anniversary in November 2008. The score of the work consists of seven cells, each with a different tempo. It is important that the distinct tempo and character of each cell be observed. Other than starting points (as described below), no rhythmic coordination between the performers should be attempted in any way. A performance should begin with the first trumpet playing cell #1. When he reaches the point in the cell marked with an asterisk (*), the second player begins playing cell #1. Once the first player has finished cell #1, after a brief pause, he may choose any one of the other six cells to play next. When the second player has reached the point in cell #1 marked by the asterisk, the third player begins cell #1, continuing after a pause to whichever cell he has chosen next. This thus continues in this same manner for each trumpet. Ideally, the piece will last between 2 and 5 minutes, although if there are an exceptionally large number of trumpets used, it may be longer. Each player thus always begins with cell #1 and after finishing it, plays the remaining cells in any order he chooses, not repeating any and pausing briefly between each one. Once finished with playing all seven, the player stops. When only one player (the last player) is left playing his final cell (and ideally at the point marked with the asterisk in whichever cell he is playing), the first trumpet should begin playing cell #7 again. Thus, the first player will always end the piece alone with cell #7, which is the only repetition of a cell that occurs in the context of performance. The composer recommends between 4 and 6 trumpets for an ideal performance, however any number (two or more) is acceptable. It is also strongly requested that the trumpets surround the audience antiphonally. The work may be performed on any matched trumpets (i.e., do not mix C and Bb instruments).
$12.95
11.66 €
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Trompette
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Carson Cooman
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Carson Cooman - Newton Antiphonies
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Clarke Variations
Trompette
Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by…
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Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Published by ERIC V BOLVIN (A0.829062). Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as the trumpet player’s bible. If that is the case, then the Clarke should be the new testament. I consider Herbert L. Clarke to be the George Washington of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.The impetus for this set of variations is based on the idea of an Expanding Scale or Expanding Range. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are holding one note and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95
15.27 €
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Trompette
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Eric Bolvin
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Eric Bolvin
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The Clarke Variations
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ERIC V BOLVIN
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SheetMusicPlus
Arban Fantaisie Brillante sur La Muette de Portici
Trompette
Piano,Trumpet - Level 4 - Digital Download SKU: A0.898024 Composed by Jean-Baptiste…
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Piano,Trumpet - Level 4 - Digital Download SKU: A0.898024 Composed by Jean-Baptiste Arban. Arranged by Ken Saul. Concert,Opera,Romantic Period,Standards. Score and part. 18 pages. Ken Saul #6092729. Published by Ken Saul (A0.898024). J. B. Arban (1825 - 1889) wrote a number of fine solos for cornet and piano that are published in the big Arban's method book. But there are a few more of these solos that were not in the big book, and this is one of them. La Muette de Portici (the mute girl of Portici) was an early French grand opera by Auber. These opera melodies were the most loved popular songs in Arban's day, and he wrote this gem of a solo using several of the beautiful melodies from the opera. The original solo was for the now-obsolete cornet in A. I have transposed it so it is playable on the modern Bb cornet. This solo is every bit as fine as the ones in the back of the Arban's method book and will be a hit on any recital.
$6.99
6.3 €
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Trompette
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Jean-Baptiste Arban
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Ken Saul
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Arban Fantaisie Brillante sur La Muette de Portici
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Ken Saul
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SheetMusicPlus
Roadside Inn - Schumann- Trumpet-Piano
Trompette
Piano,Trumpet - Level 2 - Digital Download SKU: A0.844509 Composed by Robert Schuma…
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Piano,Trumpet - Level 2 - Digital Download SKU: A0.844509 Composed by Robert Schumann. Arranged by Phil Beaman. Concert,Instructional,Romantic Period,Standards. Score and part. 7 pages. Phil Beaman #3489053. Published by Phil Beaman (A0.844509). In 1849 Robert Schumann completed a set of Romantic character pieces for piano which he named Forest Scenes. One of that set was called Roadside Inn, which I have arranged for Instrumental Solo with Piano Accompaniment. In keeping with the characteristics of the Romantic period my arrangement is full of contrasts and constant shifts between dynamics, articulations, and themes. I took themes and fragments of themes from the original and re-ordered them into a bit of a rondo form. There are interpretive marks in every measure making it a great piece for auditions to show your technique and interpretation. Not too difficult to play but sounds quite advanced when all details are observed. Another feature is the beautiful harmonic interplay between the solo and accompaniment. To be played warmly and with passion to welcome people to your Roadside Inn. 2 1/2 minutes, 5 page score, 2 page solo partTemporary MIDI recording; a live performance will be much more expressive and free
$4.99
4.49 €
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Trompette
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Robert Schumann
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Phil Beaman
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Roadside Inn - Schumann- Trumpet-Piano
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Phil Beaman
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