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--INSTRUMENTS--
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CLARINETTE
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LIVRES
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206
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128
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35
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22
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16
Orgue
10
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4
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3
Piano Trio: piano, violon, violoncelle
2
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1
2 Pianos, 4 mains
1
Piano grosses notes
1
Piano Quatuor: piano, violon, alto, violoncelle
1
1 Piano, 6 mains
1
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27
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9
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6
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5
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4
Mandoline
4
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2
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1
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1
3 Guitares (trio)
1
2 Dulcimers (duo)
1
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39
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10
Chorale 3 parties
9
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7
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5
Vents
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22
2 Saxophones (duo)
17
Flûte traversière et Piano
16
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16
2 Flûtes traversières (duo)
15
Flûte, Hautbois, Clarinette, Basson
14
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13
Clarinette et Piano
12
Flûte à bec Soprano
12
Flûte traversière
12
Saxophone (partie séparée)
11
Quatuor de Clarinettes: 4 clarinettes
11
Saxophone Alto
11
3 Clarinettes (trio)
9
Saxophone, Clarinette (duo)
8
Clarinette (partie séparée)
8
Saxophone Alto et Piano
8
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8
2 Clarinettes (duo)
7
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6
Clarinette
6
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5
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5
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5
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5
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4
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4
Clarinette, Trompette (duo)
4
Hautbois, Clarinette (duo)
4
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3
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3
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3
Flûte, Violon
3
Clarinette et Alto
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Hautbois, Flûte
3
2 Hautbois (duo)
3
Hautbois, Basson (duo)
3
Harmonica
3
3 Saxophones (trio)
2
Saxophone et Guitare
2
Flûte, Trompette (duo)
2
Saxophone Soprano et Piano
2
Quintette de Clarinettes: 5 clarinettes
2
3 Flûtes à bec (trio)
2
Trio de Flûtes: 3 flûtes
2
Flûte, Hautbois, Basson
2
Ensemble de saxophones
2
Saxophone
1
Flûte à bec, Guitare (duo)
1
Clarinette Basse, Piano
1
Clarinette, Guitare (duo)
1
Cor anglais, Guitare (duo)
1
Quintette de Flûte : 5 flûtes
1
Ensemble de Clarinettes
1
Flûte, Clarinette, Piano (trio)
1
Cor Anglais
1
Flûte, Violoncelle
1
Saxophone Soprano
1
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1
Ensemble de Flûtes
1
Flûte, Violon, Piano
1
Flûte, Alto (duo)
1
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8
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7
Cor
6
Trompette, Saxophone (duo)
6
Trompette (partie séparée)
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Trombone
6
2 Trompettes (duo)
6
2 Trombones (duo)
4
Trombone (partie séparée)
4
Trombone et Piano
3
Trompette, Piano
3
Trompette, Trombone (duo)
3
Tuba et Piano
2
Euphonium, Piano (duo)
2
Tuba
2
Cor (partie séparée)
1
Euphonium, Tuba (duo)
1
Cor, Trompette, Trombone (trio)
1
Tuba (partie séparée)
1
Cor anglais, Guitare (duo)
1
Ensemble de Trombones
1
Trombone basse
1
Cor et Piano
1
2 Tubas (duo)
1
Cor Anglais
1
Quatuor de cuivres: 4 trompettes
1
2 Euphoniums et 2 Tubas
1
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
41
Harpe
35
Violon et Piano
20
Violon
20
2 Violons (duo)
10
Violon, Guitare (duo)
8
Violoncelle, Piano
7
Trio à Cordes: violon, alto, violoncelle
7
Violon (partie séparée)
7
Violoncelle
6
Alto seul
6
2 Violoncelles (duo)
5
Alto, Piano
5
Violon, Violoncelle (duo)
5
Alto (partie séparée)
4
2 Altos (duo)
4
Contre Basse
4
2 Harpes (duo)
3
Violon, Alto (duo)
3
Violoncelle , Guitare (duo)
2
Violoncelle (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Trio à Cordes: 2 violons, violoncelle
2
Contrebasse, Piano (duo)
1
Trio à Cordes: 3 violoncelles
1
Alto, Guitare (duo)
1
4 Violoncelles
1
Harpe et mandoline
1
Trio à cordes: 3 violins
1
Alto, Violoncelle (duo)
1
+ 25 instrumentations
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Orchestre d'harmonie
213
Orchestre à Cordes
35
Batterie
18
Orchestre
10
Percussion (partie séparée)
10
Ensemble de Percussions
10
Ensemble de cuivres
10
Cloches
7
Ensemble Jazz
7
Fanfare
6
Jazz combo
2
Orchestre de chambre
2
Xylophone, Piano
1
Xylophone
1
Bodhran
1
Caisse Claire
1
Piano et Orchestre
1
Vibraphone
1
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Sonata For Trumpet, Horn and Organ Second Movement-Horn in F Part
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Cor
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AVANCÉ
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Contemporain
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Thomas R
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Sonata For Trumpet, Horn and O
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Thomas R. Schadl
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.912494 Composed by Thomas R. Schadl. Classical,Contemporary. Individual part. 3 pages. Thomas R. Schadl #3877233. P...
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French Horn Solo - Level 5 - SKU: A0.912494 Composed by Thomas R. Schadl. Classical,Contemporary. Individual part. 3 pages. Thomas R. Schadl #3877233. Published by Thomas R. Schadl (A0.912494). Written in two movements for trumpet, horn in F and organ, the work starts with a slower introduction that is written in the key of B major, the dominant key of E major. Moreover, the first movement has imitative passages that are present in all the three instruments. Following the first movement that is written in the 4/4 time, the next movement, composed in the 6/8 time and in E major, is performed gracefully in a style of a pastorale. Like the previous movement, the second part is contrapuntal but it differs in its extensive use of the dialogue between the horn and trumpet. In performing the sonata, there should be balance among the brass instruments and the organ in regard to sound intensity and the speed. The trumpet tends to overpower the horn in passages marked f or louder, and the organist may adjust the registrations to keep the sound from overpowering the other two instruments. If this piece were to be performed in large concert halls or churches, the time that takes air to leave the organ chest to the pipes may be longer. Choice of speed should be rehearsed carefully. The organ registration itself is merely a suggestion and should not be taken too literally due to the design of the organ and the acoustics of the hall or church. Sonata For Trumpet, Horn And Organ is suitable for concert use. This work may be performed at any time of the year, especially Christmas, Post-Easter and general use.
$2.99
Sonata For Trumpet, Horn And Organ First Movement-Horn In F Part
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Cor
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AVANCÉ
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Contemporain
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Thomas R
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Sonata For Trumpet, Horn And O
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Thomas R. Schadl
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.912493 Composed by Thomas R. Schadl. Classical,Contemporary. Individual part. 1 pages. Thomas R. Schadl #3877231. P...
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French Horn Solo - Level 5 - SKU: A0.912493 Composed by Thomas R. Schadl. Classical,Contemporary. Individual part. 1 pages. Thomas R. Schadl #3877231. Published by Thomas R. Schadl (A0.912493). Written in two movements for trumpet, horn in F and organ, the work starts with a slower introduction that is written in the key of B major, the dominant key of E major. Moreover, the first movement has imitative passages that are present in all the three instruments. Following the first movement that is written in the 4/4 time, the next movement, composed in the 6/8 time and in E major, is performed gracefully in a style of a pastorale. Like the previous movement, the second part is contrapuntal but it differs in its extensive use of the dialogue between the horn and trumpet. In performing the sonata, there should be balance among the brass instruments and the organ in regard to sound intensity and the speed. The trumpet tends to overpower the horn in passages marked f or louder, and the organist may adjust the registrations to keep the sound from overpowering the other two instruments. If this piece were to be performed in large concert halls or churches, the time that takes air to leave the organ chest to the pipes may be longer. Choice of speed should be rehearsed carefully. The organ registration itself is merely a suggestion and should not be taken too literally due to the design of the organ and the acoustics of the hall or church. Sonata For Trumpet, Horn And Organ is suitable for concert use. This work may be performed at any time of the year, especially Christmas, Post-Easter and general use.
$2.99
Whirling-french horn solo
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Cor
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INTERMÉDIAIRE/AVANCÉ
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Phil Beaman
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Whirling-french horn solo
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Phil Beaman
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SheetMusicPlus
French Horn Solo - Level 4 - SKU: A0.844998 Composed by Phil Beaman. Concert,Contemporary,Instructional,New Age. Individual part. 1 pages. Phil Beaman #...
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French Horn Solo - Level 4 - SKU: A0.844998 Composed by Phil Beaman. Concert,Contemporary,Instructional,New Age. Individual part. 1 pages. Phil Beaman #6063445. Published by Phil Beaman (A0.844998). Whirling, for unaccompanied instrumental solo, is my musical interpretation of the act and feeling of whirling. It contains whirling broken chords at Prestissimo speed; a frenzied but controlled perpetual motion etude. The piece is a giant chord progression with each whirling chord lasting 8 bars. This piece creates a unique, fun, and impressive performance. Or show your technique and make a friendly speed challenge with your colleagues!
$3.99
Horn Sonata - No. 1 - 3rd Movement - Allegro
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Cor
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AVANCÉ
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Lyons Music Services
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Horn Sonata - No. 1 - 3rd Move
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Music Services #3512...
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French Horn Solo - Level 5 - SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Music Services #3512417. Published by Lyons Music Services (A0.767342). This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc.I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still usefull to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting hoirn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly.The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better.This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$9.00
Horn Sonata No. 1 (Complete)
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Cor
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AVANCÉ
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Mike Lyons
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Horn Sonata No. 1
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Publi...
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French Horn Solo - Level 5 - SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Published by Lyons Music Services (A0.767341). This is a brand new piece composed for French Horn without accompaniment. It has three movements all connected by the opening material of the first movement. I am publishing this piece as separate movements as well as a complete edition. 1st. Movement: The opening movement is marked andante. It opens with a repeated tonic followed by an arpeggiated 1/16th figure with a closing descending scale. These three ideas form the basic musical material for the whole sonata. Throughout the first movement these three ideas are transformed and manipulated, expanded and contracted while maintaining a clear musical structure (basically Ternary form). As with sonata form, the final reprise of the original ideas is transformed by their 'journey'. The style of the music is rather like a Bach partita for solo instrument. The movement takes the player through most of the horn's range, but does not require any extended techniques, so should be handleable by moderately skilled players. 2nd. Movement: This slow movement requires excellent breath control. It uses the repeated not idea from the 1st movement to open, expanding the rhythm to create a rather melancholy pattern. Later, the scalic 1/16th are utilised to link to the Più mosso section where the arpeggio idea (this time descending) helps to create a feeling of wide open space and emptiness. The player is in an empty universe, drifting slowly away as the dynamics become ever quieter until the ending at ppp. 3rd. Movement: This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc. I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still useful to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting horn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly. The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better. This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$18.00
Donut Etudes vol. 3: Don’t Step in the Holes! – Horn Quartet
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Cor
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
French Horn Solo - Level 3 - SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide...
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French Horn Solo - Level 3 - SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide Ride (A0.784335). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
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