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I Will Follow for Bass Trombone
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Symphonie Fantastique for Trombone Quartet
Quatuor de cuivres: 4 trombones
Brass Ensemble Bass Trombone - Level 4 - Digital Download SKU: A0.955716 Composed b…
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Brass Ensemble Bass Trombone - Level 4 - Digital Download SKU: A0.955716 Composed by Hector Berlioz. Arranged by Phil Thrift. Classical. Score and parts. 47 pages. Phil Thrift #5306259. Published by Phil Thrift (A0.955716). This trombone quartet arrangement of Hector Berlioz’ Symphonie Fantastique contains all the well-known themes of the full orchestral symphony. The beginning is identical with the original, but then proceeds immediately to the March to the Scaffold of the fourth movement. The famous idée fixe of the symphony is first heard at measure 72, and this is followed by other themes from the first movement. The adagio at measure 164 re-creates the pastoral duet of the symphony’s third movement. As indicated on the charts, the first trombone should play this section offstage (as for the oboist in the original), while the others remain on stage. If this is not possible, then the first trombone should play this section muted. This very reflective interlude is followed by my personal favorite, the wondrously jolly waltz from the symphony’s second movement. This is followed by the Witches’ Round Dance, a sort of fugue, which leads to the dies irae – played in four octaves here, with a high Eflat to test your first trombonist! The idée fixe is stated once again before the arrangement concludes in the same way as the original symphony.This is a light-hearted arrangement that is not intended to re-create exactly the grandeur of the original with its huge orchestral forces. Lasting up to 8 min 50 sec, depending on how fast you take some sections, this piece will require some stamina, but every player does get a break and the lead shifts between all four trombones.If you’re not familiar with the full orchestral version, then I suggest you listen to it before attempting this arrangement.Alternative tenor clef parts are included for the tenor trombones.
$6.99
6.49 €
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Quatuor de cuivres: 4 trombones
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Hector Berlioz
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Phil Thrift
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Symphonie Fantastique for Trombone Quartet
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Phil Thrift
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SheetMusicPlus
Valor (for Brass Quintet & Percussion)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158392 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gildedmusicpress.com/ #758673. Published by https://gildedmusicpress.com/ (A0.1158392). “Valor†offers a potent two-minute concert opener, or an attention grabber after intermission. It is also highly effective as an encore (depending on endurance, particularly of the first trumpeter and hornist), leaving the audience with a rush and energy typified by an effective encore. Besides some minor edits and formatting, the composition was completed the day I hit my ten-year anniversary of serving in the United States Air Force Bands—a fitting anthem to celebrate a decade of service to my wonderful country! The title settled the next day as I began my second decade as an Airman Musician: Valor. The best account is recorded in my personal journal on 27 April 2021: “[Valor] is the Thrower family motto from hundreds of years ago. It’s also a concept that helped get me into [Arizona State University] for my doctoral studies. [Professor] Hickman asked for a very difficult orchestral excerpt during my audition. [Béla Bartók’s “Concerto for Orchestra.â€] I expressed some trepidation, but decided to give it a shot. I nailed it! Then Hickman turned to me with a big smile, ‘I give extra points for valor!’ So I’m pretty sure this little two-minute musical journal entry will keep the name ‘Valor’… as a motivational cheer for my next ten years in the Air Force. Valor! Great courage in the face of danger, especially in battle. Ok, in the face of life’s many battles, Valor it is! And on to the next ten years!†The music is in AA’BA’ form. The B section is heavily influenced by the thematic material of the A section, but with a strongly contrasting mood that could be dubbed quiet dignity. A finale section follows the last A with some motivic twists from throughout the piece, decisively ending with a power that could well be accompanied by a dazzling flurry of fireworks. None of the performers get much of a reprieve throughout the two minutes packed full of notes. The first trumpet part stays in the upper mid-range for most of it, which would absolutely sparkle on an E-flat trumpet (alternate part provided). Second trumpet is also demanding. The horn part demands a decent level of mastery in the high range as well as the low range, vehemently forsaking its traditional role of off beats. The trombone and tuba parts also present their challenges, and never really stop longer than to take a breath. Although this work could conceivably be performed without percussion, doing so is strongly discouraged. The power delivered by the snare, bass, and cymbals, and even the triangle in the B section, make the part arguably indispensable.
$19.95
18.53 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Valor
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https://gildedmusicpress.com/
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SheetMusicPlus
20 Favourite Christmas Carols for solo Trombone and Piano
Trombone et Piano
Piano,Trombone - Level 2 - Digital Download SKU: A0.587273 Composed by Various. Arr…
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Piano,Trombone - Level 2 - Digital Download SKU: A0.587273 Composed by Various. Arranged by David McKeown. Christian,Christmas,Praise & Worship,Sacred. Score and part. 28 pages. David McKeown #3123379. Published by David McKeown (A0.587273). 20 Favourite Carols for Solo Trombone and Piano is a collection of the best-known Christmas carols arranged simply for solo Trombone in concert pitch bass clef and Piano. The file contains the Trombone part plus the separate Piano score with added chord symbols. If you prefer reading treble clef in Bb then search for the Euphonium version of the music item no. S0.245523 20 Favourite Carols for Solo Trombone and Piano is fully compatible with the other Brass, Woodwind and String volumes in the series. Both the short sample audio and the linked youtube performance are from the Clarinet version of these arrangements.· There are also Duet and Quartet versions available of the same carols, in the same keys, so that no matter what instrument you play they will fit together. · This makes them ideal for building a full and flexible band or ensemble for school, community or church.· The keys chosen are the standard singing keys · These arrangements will provide colourful accompaniment to carol singing anywhere throughout the Christmas period.The carols are in alphabetical order and are as follows· Away in a Manger· Deck the Halls· Ding Dong Merrily on High· The First Nowell· God Rest ye Merry Gentleman· Good Christian Men Rejoice· Good King Wenceslas· Hark, the Herald Angels Sing· The Holly and the Ivy· I Saw Three Ships· In the Bleak Midwinter· It Came upon a Midnight Clear· O Cone All Ye Faithful· O Come, O Come Emmanuel· O Little Town of Bethlehem· Once in Royal David’s City· Silent Night· We Three Kings· While Shepherds Watched· We Wish you a Merry Christmas There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
7.06 €
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Trombone et Piano
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Various
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David McKeown
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20 Favourite Christmas Carols for solo Trombone and Piano
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David McKeown
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SheetMusicPlus
I Will Follow
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1309048 By John van Gulik. By John van Gulik. Arranged by John van Gulik. Christian,Contemporary,Contest,Festival,Religious. Brass Band. 37 pages. John van Gulik #898245. Published by John van Gulik (A0.1309048). Here's a great swing arrangement of the tune I will Follow Jesus.Down in the valley with my Savior I would go,Where the flowers are blooming and the sweet waters flow;Everywhere He leads me I would follow, follow on,Walking in His footsteps till the crown be won.Follow! follow! I would follow Jesus!Anywhere, everywhere, I would follow on!Follow! follow! I would follow Jesus!Everywhere He leads me I would follow on!Standard InstrumentationSoprano, 1st and 2nd CornetFlugel Horn1st and 2nd HornBaritone1st, 2nd, and Bass TromboneEuphoniumEb and Bb BassPercussion (drum kit)See https://jvgmusiconline.com for additional parts and other scores for brass band and other ensembles.
$20.00
18.58 €
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John van Gulik
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John van Gulik
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I Will Follow
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John van Gulik
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SheetMusicPlus
I Will Follow for Bass Trombone
Trombone basse
By Chris Tomlin. Arranged by José Daniel Morales A. Sheet Music Single. 2 pages. Publis…
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By Chris Tomlin. Arranged by José Daniel Morales A. Sheet Music Single. 2 pages. Published by Jose Daniel Morales (H0.177645-212738). - Sheet Music Single - - Jose Daniel Morales
$4.99
4.64 €
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Trombone basse
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Chris Tomlin
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José Daniel Morales A
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I Will Follow for Bass Trombone
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Jose Daniel Morales
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SheetMusicPlus
Concerto for Trombone and Piano
Trombone et Piano
Piano,Trombone - Level 5 - Digital Download SKU: A0.811191 Composed by Mark Narins.…
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Piano,Trombone - Level 5 - Digital Download SKU: A0.811191 Composed by Mark Narins. 20th Century,Contemporary,Romantic Period. Score and part. 101 pages. Gordon Cherry #6069485. Published by Gordon Cherry (A0.811191). Cherry Classics is pleased to introduce Concerto for Trombone and Orchestra 2020 (Piano reduction) by San Francisco based composer/conductor Mark Narins. The concerto is in 4 movements: I. Prayer, II. Meditation, III. Call and Response, IV. Exaltation Here is a description of the work by Mark Narins, the composer: Prayer: The first movement starts with a shimmering tremolo in the strings over which the silver voice of the trombone plays an arching phrase that lingers on an extended appoggiatura. The trombone is a lone mystic reaching for the sky and then falling perilously down to the pedal register. Later the orchestra breaks into a frenetic vamp over which the trombone plays intense ascending scales and passage work. The movement ends with an ascent to a high C#, moving to a final ringing high C. Meditation: After the harp lays out a series of arpeggiated chords, the trombone plays a warm, rich theme in the middle range. The following episodes are variations on this theme. The trombone moves into the upper register, floating with the ease of a lead trombone in a big band. The movement ends with an ascending yearning phrase reaching a high D as the soloist touches the sky and then comes gently back to earth. Call and Response: The orchestral accompaniment starts in an anxious, mysterious tonality. The trombone enters with a burst of energy playing a machine gun series of Fs. The movement develops into a series of short brilliant solo passages answered boldly by the orchestra. This movement showcases the stunning declamatory powers of the trombone. Exaltation: Movement 4 starts as an allegro with intense tremolos in the basses. The trombone breaks out into an articulated driving theme followed by several extended melodic passages. Midway in the movement the strings abruptly lay out a syncopated Latin dance rhythm over which the trombone climbs from the bottom to the top of its range in rapid triplets. In the final codetta the trombone accelerates the dance tempo and climaxes on a series of high C#s in a brilliant and joyous fashion. The concerto is 27 minutes in duration and is appropriate for advanced performers. This version with Piano is a reduction of the full Orchestral version (to be published in the near future). The new Trombone Concerto by Mark Narins is a very exciting piece with dramatic contrasts between the slow and fast sections. The move to the finish of the piece makes for a great wrap-up. It's a real blow for the player, really exploring the range of the instrument. It will be demanding and fun for the trombonist. Ken Andresen, New York freelance musician
$27.50
25.55 €
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Trombone et Piano
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Mark Narins
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Concerto for Trombone and Piano
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Gordon Cherry
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SheetMusicPlus
I Will Follow Him (i Will Follow You)
Brass Ensemble Euphonium,Horn,Trombone - Level 3 - Digital Download SKU: A0.920766 …
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Brass Ensemble Euphonium,Horn,Trombone - Level 3 - Digital Download SKU: A0.920766 By Nicole Johnson. By Arthur Altman, Del Roma, Franck Marius Louis Pourcel, J.W. Stole, Jacques Plante, Norman Gimbel, and Paul Mauriat. Arranged by Clive Longhurst. Contemporary. Score and parts. 17 pages. Clive Longhurst #4598419. Published by Clive Longhurst (A0.920766). I hope you will find this an interesting arrangement which is based on the famous song from the movie: Sister Act.It comes with multiple parts for Eb/F Horn, Bb Baritone, Trombone (BC/TC), Euphonium (BC/TC), and Bass (BC, Eb/Bb)I hope you enjoy it, and if you would like a copy of the full audio file, please contact me via e-mail: stickwaver1@gmail.comThank you.
$12.99
12.07 €
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Nicole Johnson
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Clive Longhurst
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I Will Follow Him
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Clive Longhurst
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SheetMusicPlus
St. Matthew Passion, Part I (Vocal Score)
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1167798 Composed by William …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1167798 Composed by William Hawley. Classical,Contemporary. Score. 78 pages. William Hawley #768150. Published by William Hawley (A0.1167798). This is the Vocal Score with Piano Reduction of William Hawley's The Passion of Our Lord Jesus Christ According to St. Matthew, Part I, in the Composer's Edition. The oratorio is for Soprano, Mezzo-Soprano, Tenor, Baritone, and Bass Vocal Soloists, Mixed Choir, Mixed Chorus, and Orchestra with Organ.Instrumentation:2 Flutes2 Oboes2 Bassoons2 Horns in F2 Trumpets in Bb2 Trombones1 Bass TromboneTimpaniHarpOrganStringsThis Vocal Score is formatted for printing on 8.5 X 11 Letter  paper. The Full Score, also available on this site, is formatted for 9 X 12 Concert Size paper, but may readily be printed at 8.5 X 11 Letter Size or A4 by selecting Fit or Shrink Oversized Pages in Adobe Acrobat, Acrobat Reader, or other PDF printing application. The Full Score, Libretto, and Full Composer's Demo are also available for download from this site.The audio clip comprises the first four minutes of the Composer's Demo Recording, followed by the final three minutes of the demo. Approximate performance duration of Part I: 44' ASCAP https://williamhawley.net.
$6.99
6.49 €
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Piano, Voix
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William Hawley
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St. Matthew Passion, Part I
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William Hawley
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.96 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.96 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.29 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Silent Night, Holy Night (for Orchestra)
Trompette
Trumpet - Digital Download SKU: A0.1070263 Composed by Franz X. Gruber. Arranged by…
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Trumpet - Digital Download SKU: A0.1070263 Composed by Franz X. Gruber. Arranged by Tito Abeleda. Christmas. Full Performance. Duration 270. Visionary Quest Records #4895615. Published by Visionary Quest Records (A0.1070263). To understand why I composed this arrangement of Silent Night, Holy Night in the way that I did, close your eyes and imagine taking a holy journey or pilgrimage to visit the Holy Nativity. I musically convey what I imagined it would have been like to make this long journey like the Three Wise Kings and others did to follow the Star of Bethlehem to see the Blessed Child that prophets had foretold. As each person begins the journey, you will hear the distinctly grave motif indicative of the quest that was before them. The brass gloriously herald one's approach to the Holy Nativity coupled with the commencement of the Silent Night, Holy Night carol theme upon one's arrival.The music Silent Night, Holy Night was originally composed in 1818 by Franz X. Gruber. The original lyrics were were written in German by James Mohr also in 1818. This Christmas Classic was translated to English in 1859 by John Young. I wrote this arrangement yesterday as an intermediate level piano solo.This is a re-imagined version of Franz Gruber's Christmas Carol classic Silent Night, Holy Night. Section A begins with a poignant introduction in C Minor, then modulates to C Major for the main Silent Night, Holy Night Christmas Carol theme in Section B. Section C returns to a new version of its introductory C Minor motif. The song segues back to its Silent Night, Holy Night theme, but modulating to D Major for its closing.F. Gruber's Silent Night, Holy Night (for Full Orchestra) Arranged by Tito Abeleda (1964 - ). Digital Download = 70 pages. Duration = 4 minutes 42 seconds.INSTRUMENTATION - Piccolo 1.2nFlute 1.2.3nAlto FlutenOboe 1.2.3.4nCor Anglais 1.2nClarinet in E^bnClarinet in DnClarinet in B^b 1.2.3nClarinet in A 1.2.3nBassoon 1.2.3.4nContrabassoon 1.2nHorn in F 1–8nTrumpet in DnTrumpet in C 1.2.3.4nBass Trumpet in E^bnTrombone 1.2.3nTenor Tuba in B^b 1.2nBass Tuba in FnTimpani 1.2nCymbalsnTubular BellsnHarpnViolin InViolin IInViolanVioloncellonDouble BassContact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunesPerforming Rights Organization is BMI.com.Customer Service: 800-925-8451
$1.99
1.85 €
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Trompette
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Franz X
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Tito Abeleda
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Silent Night, Holy Night
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Visionary Quest Records
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SheetMusicPlus
Three selections based on "Christ lag in Todesbanden" (Euphonium Quintet - Bass Clef)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Euphonium,Low Brass Quintet - Level 4 - Digital Download SKU: A0.1250700 Composed b…
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Euphonium,Low Brass Quintet - Level 4 - Digital Download SKU: A0.1250700 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Chamber,Christian,Easter,Historic. 29 pages. Regis Bookshar #844985. Published by Regis Bookshar (A0.1250700). Three selections based on Christ lag in Todesbanden (Christ lay in death's bonds) (from Cantata No.  4, BMV  4) - Johann Sebastian Bach - Euphonium Quintet (Bass Clef) - Advanced/Intermediate - Digital Download.Cantata No.  4, BMV  4, Christ lag in Todesbanden (also spelled Todes Banden) (Christ lay in death's bonds) is a cantata for Easter written by Johann Sebastian Bach and is his earliest surviving Church Cantata. It was probably written in 1707 when he was 22 years old. It is a Chorale Cantata, a style in which both the text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name which became a main Easter hymn in German Lutheranism. Regis Bookshar has transcribed and arranged three selections based on this hymn tune, two from Bach's Cantata No.  4, BMV  4, and also his Chorale Prelude, BMV 625. They may be played individually or as a trilogy and each movement is more complex than the previous one. The first selection in this trilogy is the Chorale, Christ lag in Todesbanden, the final chorus from his Cantata No.  4, a straightforward four-part chorale setting of the hymn. (Regis has also added a fifth part). This is followed by Bach's Chorale Prelude, BMV 625, a piece from his Orgelbuchlein (Little Organ Book), a collection of 46 Preludes for organ, written almost exclusively during the 1708-1717 period, while Bach was court organist at Weimar. For the final selection, Regis has placed the polyphonic and imitative chorus, Es war ein wunderlicher Krieg, da Tod und Leben rungen (It was a strange battle, that death and life waged), which Bach had placed in the middle of his Cantata No.  4.This arrangement is for a Euphonium Quintet, written in Bass Clef. There is also a version written in Treble Clef, if you would prefer.Included are a score and a complete set of parts (29 pages).I hope you will enjoy playing these selections and please search for other arrangements by Regis Bookshar. There are numerous selections in a variety of styles, also available for purchase. I think you will be pleased with what you may find.
$30.00
27.87 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Johann Sebastian Bach
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Regis Bookshar
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Three selections based on "Christ lag in Todesbanden"
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Regis Bookshar
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SheetMusicPlus
WAKE-UP CALL for Tenor and Bass Trombone with Piano accompaniment
Accompagnement Piano
Instrumental Duet,Piano Bass Trombone,Instrumental Duet,Piano,Tenor Trombone - Level 5 - D…
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Instrumental Duet,Piano Bass Trombone,Instrumental Duet,Piano,Tenor Trombone - Level 5 - Digital Download SKU: A0.1291408 Composed by John Frith. 21st Century. 28 pages. Gordon Cherry #882058. Published by Gordon Cherry (A0.1291408). WAKE-UP-CALL for Tenor Trombone, Bass Trombone and Piano by British composer John Frith throws down the gauntlet to challenge any brave performers who wish to attempt to conquer this exciting new work.Mr Frith describes the work as follows:WAKE-UP-CALL was composed to showcase the talents of three very capable musicians. It has many Jazz elements beginning with a 1920's - style 'flapper' introduction which reappears as a central section and, later, in the coda. A second theme provides a contrasting 'latin' come 'swing' element which is shared equally between the trombones. The piano part is integral to the music and of equal importance throughout. This lyrical second theme is developed using improvisatory techniques. Some of these 'Jazz licks' will challenge even experienced musicians and yet they are not beyond the technique of serious students of the trombone. The pianist will also have their work cut out to master this score but I'm confident that the end result will more than justify the means.This work is about 5-minutes in length and is appropriate for very advanced performers.Composer Frith dares pros and amateurs to perform this challenging work and send in their recording (live or otherwise). The first group to submit a good quality track will receive a generous gift from Cherry Classics Music.
$32.50
30.19 €
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Accompagnement Piano
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John Frith
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WAKE-UP CALL for Tenor and Bass Trombone with Piano accompaniment
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Gordon Cherry
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SheetMusicPlus
Silent Night, Holy Night (for Orchestra)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.984555 Composed by Franz X. Gru…
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Full Orchestra - Level 4 - Digital Download SKU: A0.984555 Composed by Franz X. Gruber. Arranged by Tito Abeleda. Christmas. Score and parts. 69 pages. Visionary Quest Records #4895613. Published by Visionary Quest Records (A0.984555). To understand why I composed this arrangement of Silent Night, Holy Night in the way that I did, close your eyes and imagine taking a holy journey or pilgrimage to visit the Holy Nativity. I musically convey what I imagined it would have been like to make this long journey like the Three Wise Kings and others did to follow the Star of Bethlehem to see the Blessed Child that prophets had foretold. As each person begins the journey, you will hear the distinctly grave motif indicative of the quest that was before them. The brass gloriously herald one's approach to the Holy Nativity coupled with the commencement of the Silent Night, Holy Night carol theme upon one's arrival. The music Silent Night, Holy Night was originally composed in 1818 by Franz X. Gruber. The original lyrics were were written in German by James Mohr also in 1818. This Christmas Classic was translated to English in 1859 by John Young. I wrote this arrangement yesterday as an intermediate level piano solo.This is a re-imagined version of Franz Gruber's Christmas Carol classic Silent Night, Holy Night. Section A begins with a poignant introduction in C Minor, then modulates to C Major for the main Silent Night, Holy Night Christmas Carol theme in Section B. Section C returns to a new version of its introductory C Minor motif. The song segues back to its Silent Night, Holy Night theme, but modulating to D Major for its closing.F. Gruber's Silent Night, Holy Night (for Full Orchestra) Arranged by Tito Abeleda (1964 - ). Digital Download = 70 pages. Duration = 4 minutes 42 seconds.INSTRUMENTATION - Piccolo 1.2nFlute 1.2.3nAlto FlutenOboe 1.2.3.4nCor Anglais 1.2nClarinet in E^bnClarinet in DnClarinet in B^b 1.2.3nClarinet in A 1.2.3nBassoon 1.2.3.4nContrabassoon 1.2nHorn in F 1–8nTrumpet in DnTrumpet in C 1.2.3.4nBass Trumpet in E^bnTrombone 1.2.3nTenor Tuba in B^b 1.2nBass Tuba in FnTimpani 1.2nCymbalsnTubular BellsnHarpnViolin InViolin IInViolanVioloncellonDouble BassContact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunes
$35.00
32.51 €
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Orchestre
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Franz X
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Tito Abeleda
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Silent Night, Holy Night
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Visionary Quest Records
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SheetMusicPlus
When I Survey the Wondrous Cross (Folk Tune - O Waly, Waly) arr. David Catherwood for Flex. ensemble
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.739479 Composed by Traditional. A…
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Concert Band - Level 3 - Digital Download SKU: A0.739479 Composed by Traditional. Arranged by David Catherwood. Easter,Folk,Multicultural,Wedding,World. Score and parts. 19 pages. Opus 3 Music #5030855. Published by Opus 3 Music (A0.739479). This arrangement of the well loved English Folk song O Waly, Waly will work equally well as an accompaniment for Choirs or Congregations singing When I survey the Wondrous Cross or it may also be used as an effective instrumental item during the Easter period.For secular use the folk song would also work well for smaller groups playing at weddings or other functions.The arrangement allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for expansion up to a full symphonic orchestra, concert band or brass bandAs with all music available from Opus 3 Music this arrangement has been well tried and tested in performanceA full set contains a score and a generous set of parts (with permissionto copy to suit your own requirements) for the following instruments:Part 1 in C (Oboe 1, Violin 1)Part 1 in C (Flute)Part 1 in Bb (Clarinet 1 in Bb, Trumpet/Cornet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet/Cornet 2 in Bb)Part 2 in Eb (Ato Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone/Baritone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb Bb Bass Tuba (treble clef)Extra optional part in Bb (Euphonium (treble clef)PercussionWhen I survey the wondrous crossOn which the Prince of glory diedMy richest gain I count but lossAnd pour contempt on all my pride
$9.50
8.82 €
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Orchestre d'harmonie
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Traditional
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David Catherwood
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When I Survey the Wondrous Cross
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Opus 3 Music
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SheetMusicPlus
16 Favourite Hymns for Brass Quartet (Vol 2.)
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.587217 Composed by Various. Arr…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.587217 Composed by Various. Arranged by David McKeown. Christian,Praise & Worship,Sacred,Standards. Score and parts. 79 pages. David McKeown #3107993. Published by David McKeown (A0.587217). 16 Favourite Hymns for Brass Quartet (Vol 2.) is a collection of commonly performed traditional hymns. They are arranged primarily for two Trumpets, one Trombone and one Tuba, but the file also contains alternative/additional parts for Horn in F, Tenor Horn in Eb and Bass Trombone. The file contains the score plus the separate parts. 16 Favourite Hymns for Brass Quartet (Vol 2.) are fully compatible with the other Brass, Woodwind and String volumes in the series. Both the short audio sample and the linked youtube performance are from the Clarinet Quartet version of these arrangements. · There are also solo and duet versions available of the same hymns, in the same keys, so that no matter what instrument you play they will fit together. · This makes them ideal for building repertoire for church bands and other ensembles. · The keys chosen are the standard singing keys The hymns are in alphabetical order and are as follows · Hail to the Lord’s Anointed, (Ellacombe) · He who would Valiant Be, (Monk’s Gate) · Holiness by Faith in Jesus, (Rousseau) · How Sweet the Name, (Lloyd) · I Vow to Thee My Country, (Thaxted) · I Will Sing the Wondrous Story, (Hyfrodol) · Just a Closer Walk with Thee, (Closer Walk) · The King of Love, (Dominus Regit Me) · The Lord’s My Shepherd, (Crimond) · Love Divine, (Austrian Hymn, Haydn) · Nearer My God to Thee, (Bethany) · Oh Love that will not Let Me Go, (St Margaret) · Purer Yet Purer, (Lyndhurst) · Shall We Gather by the River, · There is a Green Hill, (Horsley) · When I Survey the Wondrous Cross, (Rockingham) Volume 1 contains another 16 hymns arranged in the same way and is available via my home page at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$11.50
10.68 €
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Ensemble de cuivres
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Various
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David McKeown
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16 Favourite Hymns for Brass Quartet
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David McKeown
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SheetMusicPlus
3 Easter Hymns for Flexible ensembles (Thine be the Glory, When I Survey, Amazing Grace)
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.739539 Composed by Various. Arran…
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Concert Band - Level 3 - Digital Download SKU: A0.739539 Composed by Various. Arranged by David Catherwood. Easter,Sacred. Score and parts. 58 pages. Opus 3 Music #6311235. Published by Opus 3 Music (A0.739539). These versions of Three Popular Easter Hymns are straightforward arrangement for Flexible ensembles in 4 Parts and are suitable for any combination of Brass, Woodwind or Strings plus Percussion. The keys chosen are perfect to accompany singing and whilst the arrangements are suitable for school and church ensembles they will also work well with experienced players.The arrangements also allow for a great deal of flexibility in presentation and will sound complete with a few players, yet the scoring allows for parts for all orchestra, concert band or brass band players.A full set contains a score and a generous set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in F (Horn in F)Part 2 in Eb (Alto Saxophone, Eb Horn 1)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn 2)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion
$14.99
13.92 €
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Orchestre d'harmonie
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Various
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David Catherwood
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3 Easter Hymns for Flexible ensembles
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Opus 3 Music
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SheetMusicPlus
When I'm Sixty-four
Large Ensemble - Level 4 - Digital Download SKU: A0.739495 By The Beatles. By John …
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Large Ensemble - Level 4 - Digital Download SKU: A0.739495 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David Catherwood. Rock. Score and parts. 18 pages. Opus 3 Music #5726287. Published by Opus 3 Music (A0.739495). This great tune by the Beatles in a simple but effective arrangement.Whilst this arrangement is suitable for school ensembles, The arrangement also allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for parts for all orchestra, concert band or brass band players - Will also be useful for String Quartets, Brass ensembles etc..A full set contains a score and a generous set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C ( Flute, Oboe, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Bb Bass Tuba (treble clef)Percussion (& Drum kit Guide)
$15.00
13.93 €
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The Beatles
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David Catherwood
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Drum kit Guide)
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When I'm Sixty-four
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Opus 3 Music
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SheetMusicPlus
I Will Always Love You
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.1016095 By Whitney Houston.…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.1016095 By Whitney Houston. By Dolly Parton. Arranged by Katelyn Dietz. Contemporary,Pop. Octavo. 5 pages. Katelyn #5220311. Published by Katelyn (A0.1016095). This unique arrangement of Dolly Parton's classic I Will Always Love You, as performed by Whitney Houston, is the perfect way to feature 3 powerful vocalists. The epic nature of this song may be daunting, but this trio arrangement allows three voices to support one another and shine as a unit, while being equally featured. While the notes and rhythms are not difficult, this song is naturally challenging. The accompaniment is suggested for a small combo (piano and/or guitar, bass, and drums), all of which can follow the piano line as a lead sheet. Horn parts (Trumpet 1, Trumpet 2, Alto Sax, Tenor Sax, and Trombone) are also available at special request, please reach out to katelyndietz@gmail.com for more information.
$4.99
4.64 €
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Chorale 3 parties
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Whitney Houston
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Katelyn Dietz
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I Will Always Love You
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Katelyn
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SheetMusicPlus
I Vow to Thee My Country (The main theme from Jupiter - The Planets by Holst) for flexible ensemble
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.739483 Composed by Gustav Holst. …
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Concert Band - Level 2 - Digital Download SKU: A0.739483 Composed by Gustav Holst. Arranged by David Catherwood. 20th Century,Multicultural,Patriotic,Sacred,World. Score and parts. 17 pages. Opus 3 Music #5335381. Published by Opus 3 Music (A0.739483). Gustav Holst's great tune from the Planets' Suite (Jupiter) in a simple but effective arrangement. The key chosen is also suitable to accompany the singing of the popular hymn I vow to Thee my countryWhilst his arrangement is suitable for school orchestras and ensembles, The arrangement also allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for expansion up to a full symphonic orchestra, concert band or brass bandA full set contains a score and a generous set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C ( Oboe, Violin 1)Part 1 in C (Flute)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Bb Bass Tuba (treble clef)Percussion
$9.50
8.82 €
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Orchestre d'harmonie
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Gustav Holst
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David Catherwood
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I Vow to Thee My Country
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Opus 3 Music
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SheetMusicPlus
Classroom Performance educational pack: MELODY backing tracks
Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoo…
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Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flute,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Xylophone - Digital Download SKU: A0.1071285 Composed by Austin Ralphson. Instructional. Accompaniment. Duration 968. Austin Ralphson #4757407. Published by Austin Ralphson (A0.1071285). This pack comprises backing tracks of the 5 performance pieces with the PCU: Melody pack. It is part of the Perform, Compose, Understand Series, and contains backing tracks and full tracks for each piece. The backing tracks have parts 2, 3, 4 and 5 playing to allow students to play part 1 live over the top.Timings are as follows:0:00 - Sequences backing track1:00 - Conjunct / disjunct backing track2:24 - Question & answer backing track4:14 - Passing notes backing track6:00 - Ornaments backing track8:08 - Sequences full track9:09 - Conjunct / disjunct full track10:32 - Question & answer full track12:21 - Passing notes full track14:04 - Ornaments full trackIf you need backing tracks with other parts removed for performance purposes, please let me know and I will produce them for you. You can message me from www.ralphsonstrings.com
$1.99
1.85 €
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Austin Ralphson
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Classroom Performance educational pack: MELODY backing tracks
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Austin Ralphson
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SheetMusicPlus
Classroom Performance educational pack: RHYTHM backing tracks
Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoo…
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Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flute,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Xylophone - Digital Download SKU: A0.1071284 Composed by Austin Ralphson. Instructional. Accompaniment. Duration 393. Austin Ralphson #4757643. Published by Austin Ralphson (A0.1071284). This pack comprises backing tracks of the 5 performance pieces with the PCU: Rhythm pack. It is part of the Perform, Compose, Understand Series, and contains backing tracks and full tracks for each piece. The backing tracks have parts 2, 3, 4 and 5 playing to allow students to play part 1 live over the top.Timings are as follows:0:00 - Dotted notes & triplets backing track1:48 - Simple & compound backing track3:18 - Dotted notes & triplets full track5:06 - Simple & compound full trackIf you need backing tracks with other parts removed for performance purposes, please let me know and I will produce them for you. You can message me from www.ralphsonstrings.com
$1.99
1.85 €
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Austin Ralphson
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Classroom Performance educational pack: RHYTHM backing tracks
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Austin Ralphson
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SheetMusicPlus
Four famous tunes by Elgar, Holst and Handel - flexible ensembles by David Catherwood
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1217419 Composed by Various. Arra…
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Concert Band - Level 3 - Digital Download SKU: A0.1217419 Composed by Various. Arranged by David Catherwood. Classical,March,Patriotic. Score and Parts. 70 pages. Opus 3 Music #813968. Published by Opus 3 Music (A0.1217419). Four famous tunes by Elgar, Holst and Handel arranged for flexible ensembles 1) I vow to thee my country - Holst2) Theme from Pomp & Circumstance No.1 – Elgar3) Theme from Pomp & Circumstance No.4 – Elgar4) March from Scipio – Handel Four well loved patriotic tune in simple but effective arrangements.These arrangement are suitable for almost any combination of instruments, orchestral and band, all with optional percussion. The keys chosen will enable the arrangements to be used to accompany singing if required  A full set contains a score and a generous set of parts (70 pages with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone 1, Eb Horn 1)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone 2, Eb Horn 2)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Sax, Bb Trombone/Baritone/Euphonium (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion (optional)Â
$12.50
11.61 €
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Orchestre d'harmonie
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Various
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David Catherwood
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Circumstance No
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Four famous tunes by Elgar, Holst and Handel - flexible ensembles by David Catherwood
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Opus 3 Music
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SheetMusicPlus
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