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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
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VIOLONCELLE
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Non classifié
1255
PIANO & CLAVIERS
Piano seul
423
Piano grosses notes
165
Piano Facile
141
Piano, Voix et Guitare
118
Piano, Voix
102
Orgue
88
Instruments en Do
29
1 Piano, 4 mains
25
2 Pianos, 4 mains
23
Piano Trio: piano, violon, violoncelle
8
Accompagnement Piano
6
Piano Quatuor: piano, violon, alto, violoncelle
6
Orgue, Trompette (duo)
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano (partie séparée)
1
Orgue, Piano (duo)
1
Clavier
1
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GUITARES
Guitare notes et tablatures
57
Guitare
51
Ligne De Mélodie, (Paroles) et Accords
17
Ukulele
8
Piano, Guitare (duo)
6
Paroles et Accords
4
3 Guitares (trio)
3
2 Ukuleles
2
Banjo
2
Mandoline
2
Guitare (partie séparée)
1
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VOIX
Chorale SATB
196
Chorale 3 parties
75
Chorale TTBB
28
Pack Instrumental pour Chorale
22
Voix seule
19
Chorale SSAA
19
Chorale 2 parties
18
Chorale Unison
12
Voix duo, Piano
11
Voix Alto, Piano
7
Voix Baryton, Piano
5
Voix haute
5
Chorale SSATTB
3
Voix basse, Piano
2
Soli, choeur mixte et accompagnement
1
Voix Tenor
1
Chorale SSAB, Piano
1
Chorale
1
Voix Soprano, Piano
1
Voix Mezzo-Soprano, Piano
1
Voix duo
1
Instrumentations suivantes
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VENTS
2 Saxophones (duo)
479
Quatuor de Saxophones: 4 saxophones
160
2 Clarinettes (duo)
135
Saxophone Alto et Piano
132
Saxophone, Clarinette (duo)
117
2 Flûtes traversières (duo)
113
Saxophone Soprano et Piano
111
Saxophone Tenor et Piano
104
Clarinette, Violon (duo)
93
Saxophone Alto
86
Clarinette, Trompette (duo)
82
Saxophone Baryton, Piano
79
Flûte traversière et Piano
74
Quintette de Saxophone: 5 saxophones
72
Saxophone
61
Clarinette et Piano
59
Clarinette
57
Saxophone (partie séparée)
57
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
56
3 Saxophones (trio)
55
Hautbois, Clarinette (duo)
55
Saxophone Tenor
54
Hautbois, Basson (duo)
54
2 Hautbois (duo)
53
2 Flûte à bec (duo)
52
Flûte, Clarinette (duo)
52
Clarinette et Alto
45
Flûte, Violon
45
Hautbois, Piano (duo)
45
Flûte, Saxophone (duo)
44
Flûte traversière
43
Flûte, Alto (duo)
41
Flûte, Hautbois, Clarinette, Basson
40
Ensemble de saxophones
36
Flûte, Trompette (duo)
35
Quatuor de Clarinettes: 4 clarinettes
35
Hautbois, Flûte
33
Hautbois (partie séparée)
22
Saxophone Soprano
19
Flûte, Hautbois (duo)
18
Ensemble de Flûtes
14
Clarinette, Trombone (duo)
13
Hautbois, violon (duo)
13
Quatuor de Flûtes : 4 flûtes
13
Hautbois, trombone (duo)
13
Cor anglais, Piano
11
Clarinette Basse, Piano
10
Hautbois
10
Ensemble de Clarinettes
10
Flûte, Trombone (duo)
10
Quintette de Clarinettes: 5 clarinettes
8
Piccolo, Piano
8
Clarinette, Basson (duo)
8
Flûte à Bec
8
Flûte et Guitare
7
Saxophone et Guitare
7
3 Clarinettes (trio)
7
Trio de Flûtes: 3 flûtes
7
Hautbois, Guitare (duo)
6
Saxophone Baryton
6
Ensemble De Flûte à bec
5
Quintette de Flûte : 5 flûtes
5
Quatuor de Flûtes à bec
5
3 Flûtes à bec (trio)
4
Flûte, Clarinette et Basson
3
Clarinette, Violoncelle (duo)
3
Flûte à bec Alto
3
Flûte à bec Soprano
3
4 Hautbois
2
Hautbois, Violoncelle
2
Flute (partie séparée)
2
Flûte à bec Alto, Piano
2
Flûte, Hautbois, Basson
2
Saxophone et Orgue
2
5 Flûtes à bec
1
Flûte à bec Soprano, Piano
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Guitare (duo)
1
Flûte, Basson et Piano
1
2 Saxophones, Piano
1
Ensemble de Hautbois
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Harpe (duo)
1
Cor Anglais
1
Flûte de Pan
1
Flûte, Violon, Piano
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
157
Trombone et Piano
123
2 Trombones (duo)
110
Trombone
92
Trompette, Saxophone (duo)
79
Trompette, Trombone (duo)
75
Trompette
62
2 Trompettes (duo)
57
Quatuor de Cuivres : 2 trompettes, trombone, tuba
55
Quatuor de Cuivres: 2 trompettes, Cor, trombone
53
Trompette, Piano
46
Cor et Piano
41
Quatuor de Cuivres
34
Tuba et Piano
27
Euphonium, Piano (duo)
25
Cor
21
Quatuor de cuivres: 4 trombones
20
Trombone, Violon (duo)
18
Tuba
18
2 Cors (duo)
16
Ensemble de Trombones
13
Cor anglais, Piano
11
Ensemble de Trompettes
11
Trombone, Tuba (duo)
10
2 Euphoniums (duo)
9
Trio de Cuivres
9
Trombone (partie séparée)
8
2 Tubas (duo)
7
Trompette, Cor (duo)
7
3 Trombones (trio)
6
Trombone, Cor (duo)
5
Trompette (partie séparée)
4
Quatuor de cuivres: 4 cors
4
Trompette, Tuba (duo)
4
Trompette, Basson (duo)
3
Euphonium, Tuba (duo)
2
Trombone, Orgue
2
2 Trompettes, Clavier (piano ou orgue)
2
Cor, Tuba (duo)
2
Quatuor de cuivres: 4 trompettes
2
Trompette, Trombone, Piano
2
Trompette et Guitare
1
Euphonium
1
Ensemble de Cors
1
Trombone basse
1
Trompette, Violoncelle et Piano
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Cor Anglais
1
3 Tubas (trio)
1
3 Cors (trio)
1
Tuba et Orgue
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
158
Violon, Violoncelle (duo)
106
Violon et Piano
75
Violon
64
2 Violons (duo)
63
Trio à Cordes: violon, alto, violoncelle
62
Violon, Alto (duo)
62
2 Altos (duo)
54
2 Violoncelles (duo)
53
Violoncelle, Piano
48
Alto, Piano
39
Violoncelle
29
Harpe
23
Quintette à cordes: 2 violons, alto, violoncelle, basse
22
Alto seul
19
Contrebasse, Piano (duo)
17
Contre Basse
16
Alto, Violoncelle (duo)
8
Violoncelle, Contrebasse (duo)
7
Violoncelle , Guitare (duo)
7
4 Violoncelles
7
Violon, Guitare (duo)
7
Violon (partie séparée)
6
Trio à Cordes: 3 violoncelles
4
2 Contrebasses (duo)
4
Alto (partie séparée)
4
Quatuor à cordes : 4 altos
4
Quatuor à cordes: 4 violons
4
Trio à Cordes: 2 violons, violoncelle
4
Piano Trio: Violon, Alto, Piano
3
Trio à cordes: 3 altos
2
Harpe, Voix
2
Contrebasse (partie séparée)
2
Violoncelle (partie séparée)
2
Trio à cordes: 3 violins
2
Ensemble d'Altos
1
Harpe, Violon (duo)
1
Ensemble de Violons
1
Harpe et Piano
1
Trio à Cordes: 2 violons, alto
1
Alto, Guitare (duo)
1
Violon, Basson (duo)
1
Ensemble de Violoncelles
1
Violon, Clarinette, Piano (trio)
1
Harpe, Flûte (duo)
1
Alto et Harpe
1
Violon, Orgue
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
231
Orchestre
102
Ensemble Jazz
86
Orchestre à Cordes
64
Ensemble de cuivres
46
Fanfare
29
Cloches
23
Jazz combo
18
Orchestre de chambre
16
Ensemble de Percussions
7
Batterie
6
Big band
4
Marimba
3
Quintette de Cuivres: autres combinaisons
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Xylophone
2
Xylophone, Piano
2
Percussion
1
Piano et Orchestre
1
Batterie (partie séparée)
1
2 Xylophones
1
Instrumentations suivantes
Retracter
AUTRES
Théorie de la musique
1
Vous avez sélectionné:
One Day More
Trompette
Partitions à imprimer
62 partitions trouvées
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Phil Collins : One More Night (niveau intermédiaire)
Trompette
Téléchargez la partition Trompette One More Night (niveau intermédiaire) de Phil …
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Téléchargez la partition Trompette One More Night (niveau intermédiaire) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau intermédiaire)
Trompette
Téléchargez la partition Trompette One More Night (niveau intermédiaire) de Phil …
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Téléchargez la partition Trompette One More Night (niveau intermédiaire) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau facile)
Trompette
Téléchargez la partition Trompette One More Night (niveau facile) de Phil Collins. P…
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Téléchargez la partition Trompette One More Night (niveau facile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau facile)
Trompette
Téléchargez la partition Trompette One More Night (niveau facile) de Phil Collins. P…
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Téléchargez la partition Trompette One More Night (niveau facile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau difficile)
Trompette
Téléchargez la partition Trompette One More Night (niveau difficile) de Phil Collins…
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Téléchargez la partition Trompette One More Night (niveau difficile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau difficile)
Trompette
Téléchargez la partition Trompette One More Night (niveau difficile) de Phil Collins…
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Téléchargez la partition Trompette One More Night (niveau difficile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau très facile)
Trompette
Téléchargez la partition Trompette One More Night (niveau très facile) de Phil Co…
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Téléchargez la partition Trompette One More Night (niveau très facile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
Phil Collins : One More Night (niveau très facile)
Trompette
Téléchargez la partition Trompette One More Night (niveau très facile) de Phil Co…
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Téléchargez la partition Trompette One More Night (niveau très facile) de Phil Collins. Partition pour Trompette avec accomp. orchestre -- Pop/rock
5.99 €
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Trompette
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Phil Collins
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One More Night
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Tomplay
One More Sleep 'til Christmas
Trompette
Trumpet Solo - Level 4 - Digital Download SKU: A0.839623 Composed by Paul Williams.…
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Trumpet Solo - Level 4 - Digital Download SKU: A0.839623 Composed by Paul Williams. Arranged by Bobby Hesch. Contemporary. Individual part. 3 pages. Bobby Hesch #6496915. Published by Bobby Hesch (A0.839623). ONE MORE SLEEP 'TIL CHRISTMAS!!! GREAT SONG WRITTEN BY PAUL WILLIAMS FOR THE MOVIE THE MUPPET CHRISTMAS CAROL!!! AFTER ALL THERE'S ONLY ONE MORE SLEEP 'TIL CHRISTMAS DAY!!! LET'S PLAY SOME JAZZ!!! KEY OF A/Bb!!! LOW C - HIGH A!!! MP3 FOR JAZZ STYLE & INTERPRETATION!!! CONTACT INFORMATION:bobbyhesch@yahoo.com : IG :@bobbyhesch EMAIL QUESTIONS, I CAN HELP!!! ADD THIS GREAT TUNE TO YOUR CHRISTMAS SET!!! REMEMBER THE GREAT JIM HENSON!!! HAVE FUN!!! I LOVE THIS SONG!!!
$4.99
4.58 €
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Trompette
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Paul Williams
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Bobby Hesch
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GREAT SONG WRITTEN
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One More Sleep 'til Christmas
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Bobby Hesch
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SheetMusicPlus
Yesterday
Trompette
B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.720828 By Adam Levine & To…
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B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.720828 By Adam Levine & Tony Lucca. By John Lennon and Paul McCartney. Arranged by Leo Silva. Film/TV,Pop. Individual part. 1 pages. MP Sheet Music #329215. Published by MP Sheet Music (A0.720828). Yesterday is a song composed by Paul McCartney (credited to Lennon/McCartney), recorded in 1965 for the album Help!. According to Guinness World Records, Yesterday is the song with the most radio broadcasts worldwide, with more than six million broadcasts in the United States. Yesterday is also the most covered song in popular music history, with over 1,600 different interpretations. BMI claims the song was performed nearly seven million times in the 20th century. This was the first official Beatles composition recorded by just one member, Paul McCartney, accompanied by a string quartet. The composition is notably different from the other previous works of the musical group, which is why the other members did not accept that it was published as a single in the United Kingdom.
$4.99
4.58 €
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Trompette
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Adam Levine & Tony Lucca
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Leo Silva
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Yesterday
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MP Sheet Music
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SheetMusicPlus
United We Stand Collection Zack Richards Music Minus One Series
Trompette
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894414 Composed by Various…
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894414 Composed by Various. Arranged by Zack Richards. Contemporary,Folk,Holiday,Patriotic. Individual part. 23 pages. Zack Richards #6426641. Published by Zack Richards (A0.894414). A Collection of 8 popular American Patriotic Tunes for Solo Trumpet and mp3 accompaniment track! These arrangements are designed and stylized in a similar harmonic, rhythmic, and structural framework. While each has its own identity and variation to create interest for the listener, the music is formatted to fill an entire concert if so desired. Each piece has its own description and performance notes to assist the player. Performance and Rehearsal mp3s are available separately. A virtual Trumpet Ensemble accompanies the soloist in this Zack Richards Music Minus One Series. All of these works are available individually or all together in my United We Stand Collection at a considerable discount. Each of these works for Solo Trumpet with mp3 accompaniment track also have a corresponding arrangement for Trumpet Ensemble.S0.1059707 United We Stand Collection for Trumpet Ensemble Solo B-flat Trumpet Intermediate/Advanced Intermediate Visit zackrichards.com for more from this composer! S0.1059621 We the People Rehearsal Track S0.1059619 We the People Performance Track S0.1059627 The Star-Spangled Banner Rehearsal Track S0.1059661 The Star-Spangled Banner Performance Track S0.1059631 America the Beautiful Rehearsal Track S0.1059667 America the Beautiful Performance Track S0.1059633 You're a Grand Old Flag Rehearsal Track S0.1059675 You're a Grand Old Flag Performance Track S0.1059637 America Rehearsal Track S0.1059679 America Performance Track S0.1059649 Battle Hymn of the Republic Rehearsal Track S0.1059681 Battle Hymn of the Republic Performance Track S0.1059653 Echo Taps Rehearsal Track S0.1059683 Echo Taps Performance Track S0.1059655 A More Perfect Union Rehearsal Track S0.1059701 A More Perfect Union Performance Track Â
$24.99
22.92 €
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Trompette
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Various
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Zack Richards
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United We Stand Collection Zack Richards Music Minus One Series
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Zack Richards
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SheetMusicPlus
A More Perfect Union Performance Track
Trompette
Trumpet - Digital Download SKU: A0.1068948 Composed by Various. Arranged by Zack Ri…
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Trumpet - Digital Download SKU: A0.1068948 Composed by Various. Arranged by Zack Richards. Contemporary,Folk,Holiday,Patriotic. Accompaniment. Duration 268. Zack Richards #6426653. Published by Zack Richards (A0.1068948). These Performance Tracks accompany the United We Stand Collection ZRM Minus One Series Sheet Music. Each track is a virtual Trumpet Ensemble minus the Solo Part so you can play along! S0.1059737 A More Perfect Union for Solo Trumpet They are available individually or all together in my United We Stand Collection at a considerable discount.S0.1059689 United We Stand Collection Zack Richards Music Minus One Series Visit zackrichards.com for more from this composer!
$1.99
1.83 €
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Trompette
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Various
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Zack Richards
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A More Perfect Union Performance Track
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Zack Richards
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SheetMusicPlus
A More Perfect Union for Solo Trumpet
Trompette
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894422 Composed by Various…
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894422 Composed by Various. Arranged by Zack Richards. Contemporary,Folk,Holiday,Patriotic. Individual part. 6 pages. Zack Richards #6426689. Published by Zack Richards (A0.894422). A More Perfect Union is a medley of my own arrangements of some of the most popular American Patriotic Tunes. Each arrangement is thematically linked, not only by its Patriotic nature, but its harmonic, structural, and stylistic content. It begins with up to 3 soloists playing Echo Taps, then moves in the iconic Battle Hymn of the Republic. It soon transitions to a jazzy America the Beautiful, followed by a toe-tapping You're a Grand Old Flag. A stirring setting of America proceeds into The Star-Spangled Banner and a final strong ending featuring the refrain of The Battle Hymn. This medley is a guaranteed crowd-pleaser for any Patriotic Concert! Performance and Rehearsal mp3 Tracks available!S0.1059655 A More Perfect Union Rehearsal TrackS0.1059701 A More Perfect Union Performance Track All of these works are available individually or all together in my United We Stand Collection.S0.1059689 United We Stand Collection Zack Richards Music Minus One Series Each of these works for Solo Trumpet with mp3 accompaniment track also have a corresponding arrangement for Trumpet Ensemble.S0.1060263 A More Perfect Union for Trumpet Ensemble S0.1059707 United We Stand Collection for Trumpet Ensemble Solo B-flat Trumpets Intermediate- Advanced Intermediate Approx. 5:30 Visit zackrichards.com for more from this composer!
$5.99
5.49 €
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Trompette
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Various
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Zack Richards
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A More Perfect Union for Solo Trumpet
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Zack Richards
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SheetMusicPlus
5 Easy Patriotic Songs for Trombone
Trompette
Trumpet Solo - Level 1 - Digital Download SKU: A0.951723 Composed by Michael Arell.…
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Trumpet Solo - Level 1 - Digital Download SKU: A0.951723 Composed by Michael Arell. Arranged by Michael Arell. Folk,Holiday,Patriotic. Individual part. 13 pages. Michael Arell #6274049. Published by Michael Arell (A0.951723). Thank you for your interest in learning this music! I have designed the piece so that it will be approachable to musicians after about a year of playing, while still enjoyable for more advanced players. Each selection has a version in traditional Western notation and a second version with letter names and slide positions to support learning. Please visit my website www.MichaelArell.com to access a sample recording. Great fit for schools, students, and churches.
$9.99
9.16 €
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Trompette
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Michael Arell
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Michael Arell
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5 Easy Patriotic Songs for Trombone
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Michael Arell
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.55 €
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Trompette
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP PressThe Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
15.55 €
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Trompette
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
O Come All Ye Faithful for Trumpet & Piano
Trompette
B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.548515 Composed by Wade. …
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B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.548515 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3388127. Published by jmsgu3 (A0.548515). O Come All Ye Faithful arranged with new harmony for the final verse. Score: 3 pages, part: 1 page. Trumpet in Bb O Come, All Ye Faithful O Come, All Ye Faithful is an English translation of the Latin Christmas carol Adeste Fideles. No one knows exactly who wrote it. One theory holds that King John IV of Portugal (1604–1656) wrote it. Another theory says John F. Wade or John Reading wrote it. Nowadays, we usually attribute it to John Wade. Seems like Stonyhurst College in Lancashire owns the oldest manuscript. It is from the year 1751. Lyrics Frederick Oakeley, a Catholic priest in 1841 wrote the English translation. This translation is probably the most common in the English-speaking states. To begin with, the hymn had only four verses. Later, the verses grew to eight. Music directors often cut various verses because otherwise, the song goes too long. Some believe that St. Bonaventure wrote the first Latin lyrics. Others hold that King John IV of Portugal is responsible. Yet even others think the Cistercian monks wrote them. King John IV His subjects called King John IV of Portugal The Musician King. He became king in 1640. In addition to performing the duties of a king, he composed and wrote as a music journalist. King John built a very large music library. Unfortunately, the massive earthquake of Lisbon ruined the library in 1755. In addition to building his library, the king started a Music School that produced many accomplished musicians. The king also worked diligently to get instrumental music approved by the Vatican for use in his churches. Aside from his authorship of Adeste Fideles, he is famous for another popular choral setting of the Crux Fidelis, a prevalent Lenten hymn. Performance in Context Verses are sometimes left out because all eight verses would take too long to perform. More to the point though, some of the verses may be unsuitable for whatever of the church calendar they are intended. The eighth verse deals with the Epiphany, so it makes sense to sing this on Epiphany Sunday, but not other Sundays. Similarly, other verses are used according to whether the event is Midnight Mass or regular daytime Mass. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
22.88 €
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Wade
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James M
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O Come All Ye Faithful for Trumpet & Piano
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jmsgu3
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SheetMusicPlus
Echo Taps for Solo Trumpet
Trompette
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894419 Composed by Daniel …
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.894419 Composed by Daniel Butterfield. Arranged by Zack Richards. Contemporary,Folk,Holiday,Patriotic. Individual part. 4 pages. Zack Richards #6426687. Published by Zack Richards (A0.894419). Taps has always been near and dear to me for almost as long as I've played the Trumpet. I have played it more times than I can count. I was the Bugler for our local Boy Scout troop, playing Taps at many campouts and events to signal the end of the day. I also played it with our High School Marching Band for Memorial Day services, including an incredibly special one at my grandfather's gravesite shortly after his passing. He had served in the Army during World War II. I also played it for several funerals, including my Uncle's, who had served in the Marines. For some time, I had volunteered for our local VFW to play for Veteran's funerals. My High School Trumpet teacher and numerous other people in my life are Veterans and have made a huge impact on me. I decided to write this arrangement to give tribute to all Veterans and Service Members and to help the Echo Taps Worldwide cause. Echo Taps Worldwide was first done on May 19, 2007, in recognition of Armed Forces Day at National Cemeteries, State Veterans Cemeteries and American Battle Monuments Cemeteries overseas. The idea is that at gatherings across the world on Armed Forces Day, Buglers play Taps in succession, with one beginning as the previous ends, to honor those who have sacrificed so much. The intention is also to bring attention to the dire need for buglers to play for Veteran's funerals across the world. If you can, please look into volunteering for your local organizations to play Taps. From Thomas Day, a Marine veteran who founded Bugles Across America in 2000, A live bugler performing Taps is an expression of the Nation’s appreciation for the service of each veteran...With more than 600,000 veterans dying each year, we are always looking for new volunteers to perform this valuable service. Performance and Rehearsal mp3 Tracks available!S0.1059653 Echo Taps Rehearsal TrackS0.1059683 Echo Taps Performance Track All of these works are available individually or all together in my United We Stand Collection. S0.1059689 United We Stand Collection Zack Richards Music Minus One Series Each of these works for Solo Trumpet with mp3 accompaniment track also have a corresponding arrangement for Trumpet Ensemble.S0.792173 Echo Taps for Trumpet EnsembleS0.1059707 United We Stand Collection for Trumpet Ensemble Solo B-flat Trumpet Intermediate- Advanced Intermediate Approx. 2:30  Visit zackrichards.com for more from this composer!
$5.99
5.49 €
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Trompette
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Daniel Butterfield
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Zack Richards
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Echo Taps for Solo Trumpet
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Zack Richards
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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
3.21 €
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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
3.21 €
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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
California Dreamin'
Trompette
B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1490090 By The Mamas And T…
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B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1490090 By The Mamas And The Papas. By John Phillips and Michelle Phillips. Arranged by Alex Nunes Rodrigues. Rock. Individual part. 1 pages. Alex Rodrigues #1066959. Published by Alex Rodrigues (A0.1490090). Released in 1965 by the American group The Mamas & the Papas, California Dreamin' quickly became a cornerstone of 60s folk rock. Emerging during a time of significant cultural and social change, the song conveys a deep sense of longing and the desire to escape, encapsulating the yearning for a warmer, more welcoming climate. The song not only became an anthem for those dreaming of sunny California but also secured its place in history as one of the greatest songs of all time, ranking #89 on Rolling Stone's list of the 500 Greatest Songs of All Time.This sheet music has been adapted to suit musicians at a beginner to intermediate level. The main melody remains faithful to the original composition but has been transposed to a more accessible and comfortable key for the chosen instrument.California Dreamin' is a song that captures the essence of the desire for change and refuge in a more welcoming environment. The lyrics, describing a cold winter day with brown leaves and a gray sky, contrast with the idealization of California as a sunlit paradise.
$5.99
5.49 €
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Trompette
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The Mamas And The Papas
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Alex Nunes Rodrigues
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California Dreamin'
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Alex Rodrigues
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SheetMusicPlus
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