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Tri et filtres :
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2 Pianos, 4 mains
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19
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19
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Fake Book
2
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2
1 Piano, 4 mains
2
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2
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3
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64
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31
Ensemble de saxophones
21
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13
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13
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11
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9
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9
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7
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7
Quintette de Flûte : 5 flûtes
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6
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5
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5
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4
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3
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2
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2
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2
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2
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1
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1
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1
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1
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96
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90
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79
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71
Trompette, Saxophone (duo)
51
Cor (partie séparée)
33
Tuba (partie séparée)
31
Trompette, violon (duo)
26
Trombone et Piano
18
Trompette, Cor (duo)
16
Trompette, Violoncelle (duo)
16
Ensemble de Trompettes
14
Ensemble de Trombones
12
3 Trompettes (trio)
12
Cor et Piano
10
Quatuor de cuivres: 4 trompettes
10
Trio de Cuivres
10
2 Trombones (duo)
6
Trompette, Tuba (duo)
6
Quatuor de cuivres: 2 trompettes, 2 trombones
6
Trombone, Orgue
6
Trompette, Harpe
6
Cor
5
2 Trompettes, Clavier (piano ou orgue)
5
Trombone
4
Tuba
4
2 Cors (duo)
4
Quatuor de cuivres: 4 cors
3
Trompette, Violoncelle et Piano
3
Trompette, Trombone, Piano
3
Trompette et Guitare
3
Instruments en Sib
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
2 Tubas (duo)
2
Trompette, Basson (duo)
2
Tuba et Orgue
2
4 Tubas
2
Quatuor de cuivres: 4 trombones
1
Bass Clef Instruments
1
Ensemble de Tubas
1
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CORDES
Contrebasse (partie séparée)
53
Quatuor à cordes: 2 violons, alto, violoncelle
17
Violon et Piano
16
Violon
13
Violoncelle, Piano
12
Alto, Piano
10
Violon, Violoncelle (duo)
9
Trio à Cordes: violon, alto, violoncelle
9
Ensemble de Violons
8
Ensemble d'Altos
8
Violoncelle
7
2 Violons (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
2 Violoncelles (duo)
5
Harpe, Violon (duo)
4
2 Altos (duo)
4
Harpe, Violoncelle (duo)
3
Alto et Harpe
3
Violon, Alto (duo)
3
Alto seul
3
Harpe, Flûte (duo)
3
2 Contrebasses (duo)
3
Trio à Cordes: 2 violons, violoncelle
1
2 Harpes (duo)
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
Harpe
1
Trio à cordes: 3 violins
1
Alto (partie séparée)
1
Ensemble de Violoncelles
1
Violoncelle, Contrebasse (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
435
Ensemble Jazz
385
Ensemble de cuivres
129
Fanfare
92
Orchestre
67
Batterie (partie séparée)
47
Jazz combo
43
Orchestre de chambre
13
Orchestre à Cordes
6
Ensemble d'École
5
Ensemble de Percussions
5
Piano et Orchestre
1
Xylophone
1
Batterie
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AUTRES
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Trumpet Tune - Handbells
Quintette de Clarinettes: 5 clarinettes
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C Jam Blues for Clarinet Quintet
Quintette de Clarinettes: 5 clarinettes
Clarinet Quintet,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Downl…
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Clarinet Quintet,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.1271363 By Duke Ellington/Barney Bigard. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. Historic,Jazz,Multicultural,Standards,World. 11 pages. Keith Terrett #863759. Published by Keith Terrett (A0.1271363). C Jam Blues is a jazz standard composed in 1942 by Duke Ellington and performed by countless other musicians, such as Dave Grusin, Django Reinhardt, Oscar Peterson, and Charles Mingus, arranged here for Clarinet Quintet.The Eb & Bb Clarinet 4 are optional.As the title suggests, the piece follows a twelve-bar blues form in the key of C major. The tune is well known for being extremely easy to play, with the entire melody featuring only two notes: G and C.A performance typically features several improvised solos. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke's Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts.Ellington's black and white film was produced in 1942. The video depicts a jam session where Ellington begins playing with a double bass before gradually being joined by other members of his band, among them drummer Sonny Greer and trumpeter Rex Stewart. The film title is Jam Session. Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between 1945 and 1947 as part of the Tiffany Transcriptions. Bill Doggett recorded a version on his 1958 tribute album Salute to Duke Ellington (King). C Jam Blues was used by the Bonzo Dog Doo-Dah Band as the basis of their song The Intro and the Outro. Mulgrew Miller and Niels-Henning Ørsted Pedersen included the song in their 1999 album The Duets. The Dave Brubeck Quartet performed this live at the 1958 Newport Jazz Festival; the recording appears in their album Newport 1958.
$11.99
10.94 €
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Quintette de Clarinettes: 5 clarinettes
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Duke Ellington/Barney Bigard
#
Keith Terrett
#
Bb Clarinet 4 are optional
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C Jam Blues for Clarinet Quintet
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Keith Terrett
#
SheetMusicPlus
Abide with Me (Eventide) & The Last Post - Clarinet Quintet
Quintette de Clarinettes: 5 clarinettes
Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 2 - Digital Download SKU: A0.9…
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Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 2 - Digital Download SKU: A0.937268 Composed by W H Monk and Traditional. Arranged by Hugh Levey. Contemporary,Patriotic,Praise & Worship,Romantic Period,Sacred. 19 pages. Woodwindly.com #6255461. Published by woodwindly.com (A0.937268). Clarinet Quintet - 4 x Bb Clarinets and Bass Clarinet (Clarinet 1 as a soloist can be replaced by Bb Cornet or Trumpet) This publication is also available as a Clarinet Quartet (3 x Bb Clarinets and Bass Clarinet). This arrangement combines two emotionally charged pieces of music. The 19th century hymn Abide with Me, set to the tune Eventide, is often used for funerals. The 18th century bugle call The Last Post is often played to commemorate those who have lost their lives in armed conflict and is played at annual Remembrance Day services in much of the English speaking world. Here the come together in a lovely arrangement where the soloist plays the bugle call while the clarinet quartet play the hymn. In the version without soloist, clarinet 1 plays a hymn line as well as the bugle call. This work is suitable for funerals, other solemn occasions, military events and recitals.
$10.50
9.58 €
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Quintette de Clarinettes: 5 clarinettes
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W H Monk and Traditional
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Hugh Levey
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Abide with Me
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woodwindly.com
#
SheetMusicPlus
Watermelon Man for Clarinet Quintet & Opt. Drumset
Quintette de Clarinettes: 5 clarinettes
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published…
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99
13.68 €
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Quintette de Clarinettes: 5 clarinettes
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Herbie Hancock
#
Keith Terrett
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Watermelon Man for Clarinet Quintet & Opt. Drumset
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Music for all Occasions
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SheetMusicPlus
Mi Pescadito - Salsa - Clarinet Quintet
Quintette de Clarinettes: 5 clarinettes
Composed by Thomas Graf. Arranged by Thomas Graf. Latin. 32 pages. Thomas Graf - the…
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Composed by Thomas Graf. Arranged by Thomas Graf. Latin. 32 pages. Thomas Graf - the-hit-factory.com #128647. Published by Thomas Graf - the-hit-factory.com
Salsa tune - dance! A great challenge for your ensemble! – Powerful arrangement and very ambitious melody. This composition features solos on trumpet; trombone and saxophone. The rhythm group is especially in charge to provide powerful salsa groove which makes the audience dance.Instrumentation: Full Score, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Clarinet 4 in Bb, Bass Clarinet in Bb, ClavesListen to the video recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much!Important note: All our arrangements, esp. Big Band and Concert Band arrangements are played and prooved with our own ensembles with great fun and success. Please let us know if you have any request, question or if you need transposed parts.Any individual arrangement and substitute parts are available on request.Call +49 (0) 172 2515987 - E-Mail: info@the-hit-factory.com. - www.the-hit-factory.com - facebook: https://www.facebook.com/hitfactorymusic.Salsa tune - dance! A great challenge for your ensemble! – Powerful arrangement and very ambitious melody. This composition features solos on trumpet; trombone and saxophone. The rhythm group is especially in charge to provide powerful salsa groove which makes the audience dance.Instrumentation: Full Score, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Clarinet 4 in Bb, Bass Clarinet in Bb, ClavesListen to the video recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much!Important note: All our arrangements, esp. Big Band and Concert Band arrangements are played and prooved with our own ensembles with great fun and success. Please let us know if you have any request, question or if you need transposed parts.Any individual arrangement and substitute parts are available on request.Call +49 (0) 172 2515987 - E-Mail: info@the-hit-factory.com. - www.the-hit-factory.com - facebook: https://www.facebook.com/hitfactorymusic.
$20.00
18.25 €
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Quintette de Clarinettes: 5 clarinettes
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Thomas Graf
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Thomas Graf
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Mi Pescadito - Salsa - Clarinet Quintet
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Thomas Graf - the-hit-factory.com
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