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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE TRAVERSI…
FORMATION MUSI…
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HARMONICA
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HAUTBOIS
LIVRES
LUTH
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OCARINA
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All for Love of One
Non classifié
103
Piano & claviers
Piano seul
62
Piano, Voix
7
Piano, Voix et Guitare
4
Instruments en Do
2
Orgue
2
2 Pianos, 4 mains
2
Accompagnement Piano
1
1 Piano, 4 mains
1
+ 3 instrumentations
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Guitare
3
Basse electrique
1
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4 Guitares (Quatuor)
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Voix
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18
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9
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3
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2
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Voix Baryton, Piano
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Voix duo
1
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1
Voix Baryton
1
Voix moyenne, Piano
1
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Vents
2 Flûtes traversières (duo)
13
Quatuor de Saxophones: 4 saxophones
12
Clarinette
9
Hautbois (partie séparée)
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Saxophone
3
Saxophone Soprano et Piano
3
Ensemble de saxophones
3
Quintette de Saxophone: 5 saxophones
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte traversière et Piano
2
Hautbois, Piano (duo)
1
2 Clarinettes (duo)
1
Flûte, Violon, Piano
1
Saxophone Tenor et Piano
1
Saxophone Alto et Piano
1
Flûte traversière
1
Saxophone Baryton, Piano
1
Saxophone Alto
1
Clarinette, Basson (duo)
1
Quatuor de Flûtes : 4 flûtes
1
2 Saxophones (duo)
1
Quatuor de Clarinettes: 4 clarinettes
1
+ 18 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
17
Ensemble de Trombones
6
Trombone et Piano
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Quatuor de cuivres: 4 trombones
3
Cor et Piano
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Tuba et Piano
2
2 Euphoniums et 2 Tubas
1
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1
3 Euphoniums
1
3 Trombones (trio)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Euphonium
1
Trompette, Piano
1
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
12
2 Violons (duo)
6
Violon et Piano
6
Violoncelle
5
Harpe
4
Violoncelle, Piano
3
Violon, Violoncelle (duo)
2
Alto, Piano
2
2 Violoncelles (duo)
2
Violon
2
Trio à Cordes: 2 violons, violoncelle
1
2 Altos (duo)
1
Harpe, Violon (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Contre Basse
1
Violon, Clarinette, Piano (trio)
1
Alto seul
1
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Orchestre & Percussions
Orchestre d'harmonie
17
Orchestre
13
Orchestre de chambre
12
Ensemble Jazz
11
Orchestre à Cordes
8
Ensemble de cuivres
3
Ensemble de Percussions
1
Cloches
1
Jazz combo
1
Fanfare
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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CORNET
DEEJAY
DIDGERIDOO
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FLUTE TRAVERSI…
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All for Love of One
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
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Voix Tenor
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AVANCÉ
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishin...
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Tenor Voice,Vocal Solo - Level 5 - SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishing #2331251. Published by Musik Fabrik Music Publishing (A0.533282). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
Poe's Evening Carousel Ride, based on Edgar Allan Poe's poem, "Evening Star."
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Contemporain
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Grace Joy Reid
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Poe's Evening Carousel Ride, b
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Creating Music Joy
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SheetMusicPlus
Small Ensemble Flute,Keyboard,Voice - Level 5 - SKU: A0.1005681 Composed by Grace Joy Reid. 20th Century,Contemporary. Score and parts. 9 pages. Creatin...
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Small Ensemble Flute,Keyboard,Voice - Level 5 - SKU: A0.1005681 Composed by Grace Joy Reid. 20th Century,Contemporary. Score and parts. 9 pages. Creating Music Joy #6197023. Published by Creating Music Joy (A0.1005681). My original song, Poe's Christmas Eve Carousel Ride, is a microtonal melody for Celesta and/or Flute/Voice, based on Edgar Allan Poe's Evening Star.I imagined Edgar Allan Poe sitting on one of the carousel horses as it was going around and around. While this was happening, he was looking up at the night sky and thought about how much he liked the evening star better than the moon's light. (The celesta is known for its recognized sound in Tchaikovsky's, The Nutcracker Suite, The Dance of the Sugar Plum Fairy.). I figured out how to put it in a quartal tone key in Finale, thanks to Google. I used quartal tones in the left hand, so it's a blend of a tonal melodic line in an atonal landscape. Edgar Allan Poe had a horrific life. His father abandoned his family when he was young. His mother died when he was a child. After he was adopted, although not legally, he had a falling out with his foster father, who alienated him and didn't let him know that his foster mother was dying. But, he did inform him after she died. Edgar married his cousin, Virginia Clem, who was 13 and he was 26. She died 11 years into their marriage due to tuberculosis. Thus, some writers say that all of his writings have a beautiful woman who died in his stories. He lost all of the women who loved him in his life. When you see his portrait, he has sad eyes, as someone who has suffered much. But, his writing has lived well beyond his lifetime of misery and heartache. My song symbolizes, not only Poe's poem, but his life, as very difficult, yet beautiful. With me poetry has not been a purpose, but a passion. Edgar Allan Poe. Warning: Before purchasing this music, make sure that you know how to use quartal tones in your keyboard.
$7.95
Concertgoers (for Brass Quintet)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Dr
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Concertgoers
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1158419 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy,Contemporary. 31 pages. ...
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Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1158419 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy,Contemporary. 31 pages. Https://gildedmusicpress.com/ #758705. Published by https://gildedmusicpress.com/ (A0.1158419). This piece was inspired by a post-concert reception with the Sioux City Symphony to which all musicians, season ticket holders, and other select guests were invited. As I found a place to sit down and geek out with some fellow trumpeters, a group of concertgoers began to gather at the adjacent table. Each guest that joined that animated group added more character until they had spilled over into our small gathering. Their conversations also spilled over, including a couple of mild warnings about one final guest who would be joining us, who had already had just a bit too much to drink. Of course, she sat by me—a seasoned Brit with an easy-going love of life. During the course of the evening, several pairs of glasses made their way out of her purse and onto her head. Her friend asked me to take her picture and send it to her. That dignified portrait, textured and filtered with color highlights, became the cover to this work. “Concertgoers†is a musical soundtrack to that memorable evening with the unforgettable group of concertgoers. It begins with the motivic intro in the horn that becomes the main melodic content throughout the work which repeats in allusion to concertgoers joining the festivities one by one until the party blooms in full. Quirky and fun, this piece paints a fitting aural picture of the cacophonous reception and varied chatter of the evening. The use of chromaticism provides much of the quirkiness, along with the use of mixed meter for some of the varieties of that night of entertainment. These modern compositional techniques challenge a good college-level quintet, though it is accessible to the musicians and listenable to the average concertgoer. To program it on a brass quintet concert or recital aptly tips the hat in acknowledgement of the audience, as it is a dedicated piece just for them!
$24.95
Isn't She Lovely
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Quatuor de cuivres: 4 trombones
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AVANCÉ
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Stevie Wonder
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Michael Pilley
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Isn't She Lovely
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Michael Pilley Music
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SheetMusicPlus
Brass Ensemble,Trombone Quartet - Level 5 - SKU: A0.746245 By Stevie Wonder. By Stevie Wonder. Arranged by Michael Pilley. A Cappella,Pop. Score and par...
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Brass Ensemble,Trombone Quartet - Level 5 - SKU: A0.746245 By Stevie Wonder. By Stevie Wonder. Arranged by Michael Pilley. A Cappella,Pop. Score and parts. 22 pages. Michael Pilley Music #6246023. Published by Michael Pilley Music (A0.746245). From the award-winning acapella vocal ensemble The Idea of North comes this stunning arrangement of the Stevie Wonder classic. A swinging, jazzy groove is expertly punctuated with great close harmony writing and this version for trombones really brings that to life. With solos from each member, this calls for an advanced quartet with a lead player who can reach a top G. The third part also has an improvised solo. As played by Super Bone on YouTube. Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer. More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic Follow Super Bone at https://www.youtube.com/superbonequartet, https://www.facebook.com/SuperBoneQuartet, https://twitter.comSuperBoneTweets and https://www.instagram.com/superbonequartet
$20.00
Eine Alpensinfonie - Excerpts for 8-part Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Richard Strauss
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Randall Malmstrom
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Eine Alpensinfonie - Excerpts
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Cherry Classics Music
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SheetMusicPlus
Trombone Ensemble Choir - Advanced - Composed by Richard Strauss (1864-1949). Arranged by Randall Malmstrom. 20th Century. Score, Set of Parts. 14 p...
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Trombone Ensemble Choir - Advanced - Composed by Richard Strauss (1864-1949). Arranged by Randall Malmstrom. 20th Century. Score, Set of Parts. 14 pages. Published by Cherry Classics Music
Eine Alpensinfonie is Strauss's final and largest scale tone poem. Composed in 1915 (during WWI) Strauss puts into music his feelings of joy and mystery about the glory of nature, especially the mountains. He so loved the mountains that he built a home in the Bavarian Alps with stunning views.
The original work is scored for an enormous orchestra of at least 125 musicians and is about 50 minutes in length. This fantastic 6-minute arrangement by Randall Malmstrom, appropriate for advanced performers is for an 8-part Trombone Ensemble (1 alto, 5 tenors, and 2 bass trombones) and features excerpts from the work that highlight the trombone section's glorious chorals.
$32.50
William Tell Overture (for Trombone Octet, as - the Eastman Trombone Choir)
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Ensemble de Trombones
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AVANCÉ
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Classique
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Gioachino Rossini
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P
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William Tell Overture
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Pete Strohm Music
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SheetMusicPlus
Brass Ensemble,Trombone Ensemble Bass Trombone - Level 5 - SKU: A0.1496009 Composed by Gioachino Rossini. Arranged by P. F. Strohm. 19th Century,Classic...
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Brass Ensemble,Trombone Ensemble Bass Trombone - Level 5 - SKU: A0.1496009 Composed by Gioachino Rossini. Arranged by P. F. Strohm. 19th Century,Classical,Contest,Festival,Romantic Period. 104 pages. Pete Strohm Music #1072536. Published by Pete Strohm Music (A0.1496009). This is a transcription for trombone ensemble of the complete William Tell Overture, written by Gioacchino Rossini, dedicated to the Szeged Trombone Ensemble (SETREN) and further arranged for the Eastman Trombone Choir. In reimagining the work for trombone octet, American composer P. F. Strohm has kept the piece in the original orchestral keys, and retained all the flourish and drama of the original work. The opening Dawn and Storm, the lovely Pastorale, and the touchstone Finale are all there. This tour de force work comes in two different versions, one for eight players (as arranged for SETREN), and this one for large ensembles of 16 or more players (as arranged for the Eastman Trombone Choir). Both versions have eight parts, and are intended for trombone ensembles with the highest levels of technique and musicianship. Advanced level of difficulty, with a performance time of 11:45. Member, ASCAP.
$20.00
Bach Fuga BWV 539 For Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind
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Luis Anjos Teixeira
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standa...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
For Unto Us a Child Is Born from Messiah for Brass Quintet and Organ
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Musique Sacrée
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George Frideric Handel
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Charles Decker
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For Unto Us a Child Is Born fr
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Euphonium,Flugelhorn,Piccolo Trumpet,Trombone,Tuba - Level 5 - SKU: A0.817139 Composed by George Frideric Handel. Arranged by Charles Deck...
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Brass Quintet Euphonium,Flugelhorn,Piccolo Trumpet,Trombone,Tuba - Level 5 - SKU: A0.817139 Composed by George Frideric Handel. Arranged by Charles Decker. Baroque,Christmas,Easter,Holiday,Praise & Worship. 48 pages. Charles Decker Music Press #3898203. Published by Charles Decker Music Press (A0.817139). This spectacular tour de force for brass quintet and organ of Handel's famous chorus from his beloved Messiah oratorio is guaranteed to excite audiences and the performers. Set in the original key, it features the first trumpet on piccolo B-flat trumpet with alternative piccolo trumpet parts in A and C, the second trumpet on D trumpet with an alternate part in C., a flugelhorn/trumpet substitute part is included for horn, trombone in bass clef, tuba, and organ. The audio file is an actual brass quintet and organ performance of the entire arrangement and not a computer playback of the score. Use this link to see all the Charles Decker Music Press Christmas holiday music for mixed brass and homogeneous groups.  Use this link to Kendor Music for my original composition for brass quintet with narrator of the holiday classic story ’Twas the Night Before Christmas.See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.  All ensemble publications include recordings of the entire edition.  For more Charles Decker brass quintet editions use these links to Kendor Music and Cherry Classics Music for listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.
$16.95
Capriccio BWV 992 "On the Departure of a Beloved Brother" for 6-part Trombone ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Johann Sebastian Bach
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John Marcellus
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Capriccio BWV 992 "On the
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792541 Composed by Johann Sebastian Bach. Arranged by John Marcellus. Baroque,Classical,Renaissance. Score a...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792541 Composed by Johann Sebastian Bach. Arranged by John Marcellus. Baroque,Classical,Renaissance. Score and parts. 43 pages. Gordon Cherry #5008439. Published by Gordon Cherry (A0.792541). Capriccio in B-flat, BWV 992 is an early keyboard work, first performed at age 19 when his brother Johann Jacob travelled to become an oboist in the army of Charles XII of Sweden. The 12-minute work is appropriate for advanced performers. Dr. Marcellus has dedicated his arrangement to the memory of the late Steve Witser, his former student and colleague who was Principal Trombonist with the Los Angeles Philharmonic. In his arrangement Marcellus has split the music into a two 3-part Trombone choirs each with two tenor Trombones and a bass Trombone. The work is separated into six sections titled: 1. Arioso: Adagio - His friends try to persuade him not to undertake the journey 2. Andante - His friends tell him of the various misfortunes that may befall him abroad 3. Adagiosissimo - The general lament of his friends 4. Andante con moto - His friends come, since they see that it must be, and take leave of him 5. Posthorn Aria 6. Fugue in Imitation of the Posthorn.
$27.50
Liebestod from Tristan and Isolde for 8-part Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Richard Wagner
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Malmstrom, Randall
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Liebestod from Tristan and Iso
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.810904 Composed by Richard Wagner. Arranged by Malmstrom, Randall. Romantic Period. Score and parts. 40 page...
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Brass Ensemble Trombone - Level 5 - SKU: A0.810904 Composed by Richard Wagner. Arranged by Malmstrom, Randall. Romantic Period. Score and parts. 40 pages. Gordon Cherry #3679569. Published by Gordon Cherry (A0.810904). Liebestod (German for Love Death) is the title of the final, dramatic music from the 1859 opera Tristan and Isolde by Richard Wagner. The music is actually an aria that Isolde sings over Tristan's dead body before she herself is consumed in death.The music is lush, with rich harmonies and undulating rhythms as the agony of death is also meshed with the passion of love.Randall Malmstrom has scored this 7-minute work for 8-part Trombone Ensemble with advanced performers.
$25.00
Three-Part Inventions for Trombone Trio Ensemble
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3 Trombones (trio)
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Ralph Sauer
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Three-Part Inventions for Trom
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.811269 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical. Score and parts. 80 pa...
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Brass Ensemble Trombone - Level 5 - SKU: A0.811269 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque,Classical. Score and parts. 80 pages. Gordon Cherry #6744877. Published by Gordon Cherry (A0.811269). Bach's Three-Part Inventions, BWV 787-801 (also known as Sinfonias) were composed in Köthen, Germany around the year 1720 for harpsichord. Each work is characterized by the contrapuntal working of a single melodic line. The fifteen short pieces cover eight major and seven minor keys.Bach included with the collection of the Two and Three-Part Inventions these instructions to students of music:Forthright instruction, wherewith lovers of the clavier, especially those desirous of learning, are shown in a clear way not only 1) to learn to play two voices clearly, but also after further progress 2) to deal correctly and well with three obbligato parts, moreover at the same time to obtain not only good ideas, but also to carry them out well, but most of all to achieve a cantabile style of playing, and thereby to acquire a strong foretaste of composition.Ralph Sauer has brilliantly arranged these great works for Three Trombones in one single collection (he first arranged these in the early 1970s in several volumes with different publishers and are now out of print) and is appropriate for advanced performers.
$32.50
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Voix Tenor, Piano
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AVANCÉ
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Contemporain
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fa...
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Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
Music for Three, Volume 8 - Keyboard or Guitar 50840
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Various
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Daniel Kelley
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Music for Three, Volume 8 - Ke
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble Organ,Piano Accompaniment - Level 5 - SKU: A0.961865 Composed by Various. Arranged by Daniel Kelley. Baroque,Classical,Romantic Period,Tr...
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Small Ensemble Organ,Piano Accompaniment - Level 5 - SKU: A0.961865 Composed by Various. Arranged by Daniel Kelley. Baroque,Classical,Romantic Period,Traditional. Score and parts. 94 pages. Last Resort Music Publishing #567576. Published by Last Resort Music Publishing (A0.961865). Music for Three, Volume 8 - More Baroque, Classical & Romantic Favorites Keyboard or Guitar Including works by Bizet, Faure, Borodin, Gottschalk, and Rossini and more! An incredible collection of 35 arrangements for strings, woodwinds and piano – these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played. The parts available for this volume are listed here! 50811 Part 1 Flute or Oboe or Violin 50813 Part 1 Clarinet in Bb 50821 Part 2 Flute or Oboe or Violin 50822 Part 2 Viola 50823 Part 2 Clarinet in Bb 50831 Part 3 Cello or Bassoon 50840 Keyboard or Guitar 50899 Score Table of Contents Badinerie from Suite #2 in b minor (Bach) Bist Du Bei Mir (Bach) Allegro Moderato & Allegro from Brandenburg Concerto #3 in G Major (Bach) Fur Elise (Beethoven) Galop & Petit Mari, Petite Femme from Jeux d'Enfants, Op. 22 (Bizet) Farandole & Menuet from L'Arlesienne Suite #2 (Bizet) Minuet from Quintet in E Major, Op. 13 #5 (Boccherini) Theme from Polovetzian Dances from Prince Igor (Borodin) Fantasie-Impromptu from Fantasie-Impromptu in C# minor, Op. 66 (Chopin) Adagio from Violin Sonata in G minor, Op. 5 #5 (Corelli) Flower Duet from Lakme (Delibes) Slavonic Dance #1 from Slavonic Dances, Op. 46 #1 (Dvorak) Slavonic Dance #2 from Slavonic Dances, Op. 46 #2 (Dvorak) Bereceuse from Dolly Suite, Op. 56 (Faure) Bananier, Le (Gottschalk) Dying Poet, The (Gottschalk) Tournament Galop (Gottschalk) Funeral March for a Marionette (Gounod) Juliet's Waltz Song Je veux vivre from Romeo and Juliet (Gounod) I Love Thee Ich Liebe Dich from The Heart's Melodies, Op. 5 (Grieg) Arrival of the Queen of Sheba from the Oratorio Solomon (Handel) Allegro & Hornpipe from The Water Music (Handel) Theme from Jupiter from The Planets (Holst) Capriccio #24 from 24 Capricci, Op. 1 (Paganini) Galop from La Boutique Fantastique (Rossini) Mon Coeur S'ouvre A Ta Voix from the opera Samson and Delilah (Saint-Saens) Rosamunde Ballet Music from incidental music to Rosamunde (Schubert) The Trout from the Trout Quintet, Op. 114 (Schubert) The Laughing Song from Die Fledermaus (Strauss) Danses des petits cygnes from the ballet Swan Lake (Tschaikovsky) None But the Lonely Heart from Six Songs, Op. 6 #6 (Tschaikovsky).
$26.00
March to the Scaffold from Symphonie Fantastique for 8-part Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Hector Berlioz
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Malmstrom, Randall
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March to the Scaffold from Sym
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.810973 Composed by Hector Berlioz. Arranged by Malmstrom, Randall. Classical,Romantic Period. Score and part...
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Brass Ensemble Trombone - Level 5 - SKU: A0.810973 Composed by Hector Berlioz. Arranged by Malmstrom, Randall. Classical,Romantic Period. Score and parts. 65 pages. Gordon Cherry #4310507. Published by Gordon Cherry (A0.810973). Symphonie Fantastique was written in 1830 as one of the first program symphonies in musical history. The March of the Scaffold is the fourth of five movements, telling the story of a drugged-induced dream where an artist who has murdered his lover is condemned to death and marched to the scaffold where he witnesses his head being chopped off by a guillotine. This arrangement for 8-part Trombone Ensemble of about 7 minutes in length by Randall Malmstrom is an arrangement of the full movement and is appropriate for advanced performers.
$40.00
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
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 ...
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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 - 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
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
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 ...
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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 - 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
The Nutcracker Suite for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Classique
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P
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Ross Holcombe
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The Nutcracker Suite for Brass
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Gordon Cherry
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792695 Composed by P. I. Tchaikovsky. Arranged by Ross Holcombe. Christmas,Romantic Period....
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792695 Composed by P. I. Tchaikovsky. Arranged by Ross Holcombe. Christmas,Romantic Period. 71 pages. Gordon Cherry #5777299. Published by Gordon Cherry (A0.792695). Tchaikovsky's Nutcracker is the most performed ballet by far of any other work and its melodies are universally loved. There is no other work that captures the imagination and turns us all into children again. Ross Holcombe has done a great job with his arrangement of four movements from The Nutcracker Suite: 1. March, 2. Trepak, 3. Arabian Dance and 4. The Waltz of the Flowers as the grand finale featuring the tuba on the famous harp cadenza....yes....it can be done!! Instrumentation is for 2 Trumpets in C (B-flat parts are supplied as well) Horn, Trombone and Tuba.
$47.50
Excerpts from The Nutcracker for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Classique
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Pytor Ilych Tchaikovsky
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James Haynor
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Excerpts from The Nutcracker f
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Gordon Cherry
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SheetMusicPlus
Level 5 - SKU: A0.811266 Composed by Pytor Ilych Tchaikovsky. Arranged by James Haynor. Romantic Period. 46 pages. Gordon Cherry #6715877. Published by ...
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Level 5 - SKU: A0.811266 Composed by Pytor Ilych Tchaikovsky. Arranged by James Haynor. Romantic Period. 46 pages. Gordon Cherry #6715877. Published by Gordon Cherry (A0.811266). Tchaikovsky's Nutcracker is the most performed ballet by far of any other work and its melodies are universally loved. There is no other work that captures the imagination and turns us all into children again.James Haynor has done a great job with his arrangement A Night at the Ballet - Excerpts from The Nutcracker1. Overture, 2. March, 3. Dance of the Sugar Plum Fairy, 4. Trepak, 5. Arabian Dance, 6. Chinese Dance, 7. Dance of the Reed Flutes, and 8. The Waltz of the Flowers as the grand finale to conclude this wonderful arrangement.Instrumentation is for 2 Trumpets in B-flat, Horn, Trombone, and Tuba.
$47.50
Adagietto from Symphony No. 5 for 8-part Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Gustav Mahler
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Randall Malmstrom
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Adagietto from Symphony No. 5
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.1078970 Composed by Gustav Mahler. Arranged by Randall Malmstrom. Romantic Period. Score and parts. 40 pages...
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Brass Ensemble Trombone - Level 5 - SKU: A0.1078970 Composed by Gustav Mahler. Arranged by Randall Malmstrom. Romantic Period. Score and parts. 40 pages. Gordon Cherry #683167. Published by Gordon Cherry (A0.1078970). Mahler's Adagietto from Symphony No. 5 is the fourth movement of a giant work of great profundity. Recent scholarship is reasonably sure that this movement expresses Mahler's undying love for his wife Alma. The long sweeping lines are a love letter without words to the woman he idolized. Randall Malmstrom has brilliantly arranged this 8-minute movement for an 8-part Trombone Ensemble of advanced performers.
$37.50
Rossini: March of the Swiss Soldiers from William Tell Overture for Bassoon Quartet
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4 Bassons
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AVANCÉ
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Gioachino Rossini
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Darrell Goforth
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Rossini: March of the Swiss So
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Darrell Harrison Goforth
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon - Level 5 - SKU: A0.747398 Composed by Gioachino Rossini. Arranged by Darrell Goforth. Classical,Film/TV,Folk...
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Woodwind Ensemble,Woodwind Quartet Bassoon - Level 5 - SKU: A0.747398 Composed by Gioachino Rossini. Arranged by Darrell Goforth. Classical,Film/TV,Folk,Standards. 17 pages. Darrell Harrison Goforth #2069871. Published by Darrell Harrison Goforth (A0.747398). Who doesn't love The Lone Ranger? This iconic theme is familiar the world over. It has been used in cartoons and movies and especially the 1950's television series The Lone Ranger. I have set it here as a Bassoon Quartet which gives a unique perspective to this stirring piece. All four parts are of equal difficulty, giving a challenge to all players. I think audiences and performers will appreciate it equally. It's a great way to either start or end any program. Comments and questions are always welcome at my email: dgoforth2@comcast.net Please like me on Facebook at https://www.facebook.com/goforthmusic and visit my YouTube channel at https://www.youtube.com/user/dgoforth2.
$19.99
The Oath of Silence, An Opera in Four Acts, Piano Vocal Score
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Piano, Voix et Guitare
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AVANCÉ
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James Nathaniel Holland
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The Oath of Silence, An Opera
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James Nathaniel Holland
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pages. James Natha...
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Guitar,Piano,Vocal,Voice - Level 5 - SKU: A0.1284659 Composed by James Nathaniel Holland. 21st Century,Contemporary,Opera. Score. 143 pages. James Nathaniel Holland #875835. Published by James Nathaniel Holland (A0.1284659). PIANO VOCAL SCORE.  This four act contemporary opera, original libretto and music, by 21st century American composer James Nathaniel Holland is the story of the triumph of Love over Evil, however delayed, and the power of keeping steadfast to one’s righteous promise.  Based on the German fairy tale The Six Swans, in a kingdom, during Saxon times, the murderous daughter of an evil entity, Ravia, infiltrates and takes over the lives of a royal family due to the King’s rash promise to marry her many years before. The royal children are sent away by their father for safety to a hidden, woodland cottage, but Ravia discovers where they are and hexes the younger siblings, turning them into swallows.  Usha, the eldest, escapes and flees to the wilderness and is visited by the apparition of her dead mother who explains what is going on and that Usha must swear an oath of silence for six years to break the spell and change her siblings back into human form.Five years pass and a dashing and kind king, Rohric, of another kingdom, finds Usha while hunting, falls in love with and marries her, but Usha must remain silent and cannot reveal who she is.  Ravia, who now is sole queen of the old kingdom, is invited by Rohric’s nobles with hope to secure a “proper†wedding for Rohric.  Usha is accused falsely of killing her own child by the two and is sentenced to be burned at the stake, but as the bell tolls she finally can declare her innocence.  To the crowd’s amazement her siblings change back, all truth is revealed, and for Ravia’s failure, she is dragged back to hell by demons.  Singers:  King Alfred (bass), Ravia (soprano), Princess Usha (mezzo), Queen Mother Arna (soprano), the royal siblings (children’s/boy’s chorus), King Rohric (Tenor), The Evil Noble (baritone), An angel/a demon (bass), SATB ChorusScored for full orchestra.  Instrumentation:  picc/treble recorder, fl12, ob12, eh, cl12, bsn12, hrn 123, tpt123, trom12, tba, timp, perc.12 (bd, crash cym, ride cym with soft mallets and stick, glk, chimes, snar, tri), hrp, stringsDuration:  2 hoursFull Orchestral Score (concert pitch), Piano Vocal Score and Instruments Parts 1 (woodwinds, brass, perc.) and Parts 2 (harp and strings) sold separately.
$17.50
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
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Violon, Clarinette, Piano (trio)
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AVANCÉ
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Adam Lenhart
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Two Scenes from The Rubá
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Adam Lenhart
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SheetMusicPlus
B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenha...
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B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
E lucevan le stelle, Aria from Tosca for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Classique
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Giacomo Puccini
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Vikentios Gionanidis
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E lucevan le stelle, Aria from
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Cherry Classics Music
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SheetMusicPlus
Brass Quintet - Advanced - Composed by Giacomo Puccini (1858-1924). Arranged by Vikentios Gionanidis. 20th Century, Romantic Period, Opera. Score, S...
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Brass Quintet - Advanced - Composed by Giacomo Puccini (1858-1924). Arranged by Vikentios Gionanidis. 20th Century, Romantic Period, Opera. Score, Set of Parts. 14 pages. Published by Cherry Classics Music
E lucevan le stelle (And the stars were shining) is a romantic aria from the third act of Puccini's opera Tosca, written in 1900. It is sung in Act 3 by Mario Cavaradossi (tenor), a painter who is awaiting his execution and in love with the singer Tosca. (Wikipedia).
This aria is one of the most beloved in all the operatic repertoire and has been captured beautifully in a lovely arrangement for brass quintet by Vikention Gionanidis. The music is appropriate for advanced performers.
The instrumentation is for 2 Trumpets in C (B-flat parts supplied as well), Horn, Trombone, and Tuba.
$30.00
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All for Love of One