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Four Elements for Trumpet and Trombone
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Four Elements for Trumpet and Trombone
Trompette, Trombone (duo)
Brass Ensemble - Level 5 - Digital Download SKU: A0.792575 Composed by Elizabeth Ra…
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Brass Ensemble - Level 5 - Digital Download SKU: A0.792575 Composed by Elizabeth Raum. 20th Century,Contemporary. Score and parts. 26 pages. Gordon Cherry #5008631. Published by Gordon Cherry (A0.792575). Four Elements was originally composed for Violin and Bass Trombone and was written as a Christmas present for the composer's sister, Priscilla, and her husband, Bass Trombonist, Gordon Hallberg who performed with the Boston Symphony Orchestra. Raum was experimenting with tone rows at the time and the row is first stated in the first six notes in the Trombone part followed by the next six in the Violin part. The titles of the movements, from the Four Elements, are descriptive of the moods of each movement. Water has the lines of the instruments flowing, as in a river with swirls and eddies. Earth has Jazz influences which are intended to give an Earthy quality to the second movement. Air, with mutes, glissandos, and quasi unmeasured rhythm, seeks to float; The finale Fire is crackling with excitement. Trombonist, David William Brubeck, asked Raum if she had anything written for trumpet and trombone as he frequently performs in a duo so she adapted the violin part in Four Elements for trumpet. The work can be performed by advanced performers. Two scores are provided, including one for C Trumpet and the other for B-flat Trumpet. The Trombone part can be performed with an f-attachment Tenor Trombone or Bass Trombone
$22.50
20.43 €
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Trompette, Trombone (duo)
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Elizabeth Raum
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Four Elements for Trumpet and Trombone
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Gordon Cherry
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SheetMusicPlus
Bach: Wachet auf for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Level 3 - Digital Download SKU: A0.549857 Composed by Johann Sebastian Bach. Arrang…
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Level 3 - Digital Download SKU: A0.549857 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Sacred,Wedding. 17 pages. Jmsgu3 #3556935. Published by jmsgu3 (A0.549857). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Program this for church services during Easter or as a recital encore. Also great for Weddings. Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the prelude, and a four-part chorale. He casts the new lyrics as recitatives – like the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the guards singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears; it catches the listener off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First, Johann Sebastian Bach may be the greatest composer in music history. Indeed, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. People are probably most familiar with instrumental works such as the Brandenburg Concertos and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. His most famous vocal works seem to include the most noteworthy Mass in B Minor. Also, most notable are the St. John Passion and, indeed, the Christmas Oratorio.  History Bach came from a long line of musicians and, above all, composers. Consequently, he first of all pursued a career as a church organist. As a result, he gained employment in various Protestant churches in Germany. He worked as a court musician in Weimar and Köthen for a while. Here, he probably developed his organ style and, likewise, his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here, he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his unique style. This new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach's works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will use an S (Schmieder) as an abbreviation for BWV. Â
$39.95
36.28 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Brass Quintet
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jmsgu3
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SheetMusicPlus
Four Forces (First movement) I. Strong Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
272.45 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Four Forces (Second movement) II. Weak Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
136.23 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
St. James Infirmary: 1st Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN1 1st Trombone. Arr…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN1 1st Trombone. Arranged by Mike Kamuf. Funk; Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_TN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_TN1). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.72 €
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Trombone (partie séparée)
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Mike Kamuf
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Jazz
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St. James Infirmary: 1st Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
St. James Infirmary: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN3 3rd Trombone. Arr…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN3 3rd Trombone. Arranged by Mike Kamuf. Funk; Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_TN3). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.72 €
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Trombone (partie séparée)
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Mike Kamuf
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Jazz
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St. James Infirmary: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
St. James Infirmary: 4th Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN4 4th Trombone. Arr…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN4 4th Trombone. Arranged by Mike Kamuf. Funk; Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_TN4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_TN4). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.72 €
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Trombone (partie séparée)
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Mike Kamuf
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Jazz
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St. James Infirmary: 4th Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
St. James Infirmary: 2nd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN2 2nd Trombone. Arr…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN2 2nd Trombone. Arranged by Mike Kamuf. Funk; Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_TN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_TN2). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.72 €
#
Trombone (partie séparée)
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Mike Kamuf
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Jazz
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St. James Infirmary: 2nd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
St. James Infirmary: 2nd B-flat Trumpet
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_T2 2nd B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_T2 2nd B-flat Trumpet. Arranged by Mike Kamuf. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_T2). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.72 €
#
Trombone (partie séparée)
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Mike Kamuf
#
Jazz
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St. James Infirmary: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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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
21.79 €
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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
Ave Verum Corpus for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble - Digital Download SKU: A0.810741 Composed by Wolfgang Amadeus Mozar…
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Brass Ensemble - Digital Download SKU: A0.810741 Composed by Wolfgang Amadeus Mozart. Arranged by Toomey, Daniel. Christian,Classical,Easter,Sacred. Score and parts. 7 pages. Gordon Cherry #2075367. Published by Gordon Cherry (A0.810741). Dated within the last six months of the composer's life, the Ave Verum Corpus, K. 618 is a profound example of the unrivaled beauty, elegance and simplicity of Mozart's style. It is a stand-alone choral work based on a sacred Latin text, probably written for a Corpus Christi service in Baden, near Vienna. Often cited as one of Mozart's most perfect works, it’s sublimity inspired the following remarks from Albert Einstein: the perfection of modulation and part-writing, lightly introducing polyphony as a final intensification, (is) no longer perceived. Here...ecclesiastical and personal elements flow together. The problem of style is solved. Originally scored for four-part chorus (SATB), organ and strings, this beautiful arrangement by Daniel Toomey preserves the original key and markings; the only additions are the molto cantabile marking in the solo voice and the suggested metronome marking of q=80.
$6.00
5.45 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Wolfgang Amadeus Mozart
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Toomey, Daniel
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Ave Verum Corpus for Brass Quintet
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Gordon Cherry
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SheetMusicPlus
Patricia: A Ragtime Composition
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music. The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.â€Â    But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.    Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three†composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.    Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.    One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.†(The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.      This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.    The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99
11.8 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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1900 ragtime was
the
popular music
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Joseph Lamb
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F
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Patricia: A Ragtime Composition
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Sweetwater Brass Press
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SheetMusicPlus
Beggin'
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1356899
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1356899 By The Four Seasons. By Bob Gaudio and Peggy Farina. Arranged by Chris Knapp. Pop. 32 pages. Chris Knapp #941497. Published by Chris Knapp (A0.1356899). This arrangement of the Four Seasons hit takes all the classic elements from the song and maps it across the Brass Quintet. Another big crowd-pleaser and great for Weddings.Although this arrangement was originally written with two trombones (one on part 3 and one on part 4), there is a Horn in F and a Horn in Eb part for part 3 included for those who have a more conventional Brass Quintet set up. A selection of flexible parts are available.
$19.99
18.15 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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The Four Seasons
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Chris Knapp
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Beggin'
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Chris Knapp
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SheetMusicPlus
Debussy: Two Piano Preludes from Book 1 - Nos.VI Des pas sur la neige/XII Minstrels - symphonic wind
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.55360…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.553608 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century. 34 pages. RayThompsonMusic #3227059. Published by RayThompsonMusic (A0.553608). Two Piano Preludes from Book 1 - Nos.VI Des pas sur la neige/XII Minstrels Two preludes from Bk 1 arranged symphonic winds: double wind quintet  with contra bass and opt. trumpet and trombone.No 6 Des pas sur la neige (Footsteps in the Snow)The piece is one of four Debussy preludes in both books whose title origins are unknown. It has been suggested that the inspiration for the title could have stemmed from a painting depicting a snowy landscape. This was an extremely popular backdrop among Impressionist artist like Claude Monet or Alfred Sisley; the latter painted Snow at Louveciennes.No 12 Minstrels This is the final prelude of Book One.  Debussy delivers a surprising and humorous gem that is a tribute to the performing minstrel groups which started to appear in Europe around 1900. The music of the minstrels included many contemporary jazz elements such as ragtime and blues, rhythms which were incorporated into the music of quite a few fascinated European composers. This prelude cleverly captures the frenzy of the quick-change minstrel act and their rhythmic excitement, opening with a banjo-like theme supported by uncharacteristically blatant dominant to tonic pedals in G Major. We also hear a brief sentimental song and a recurrent drum theme before the prelude comes to a satisfying close with a hymn- like plagal cadence.
$17.95
16.3 €
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Claude Debussy
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Ray Thompson
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Debussy: Two Piano Preludes from Book 1 - Nos.VI Des pas sur la neige/XII Minstrels - symphonic wind
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RayThompsonMusic
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SheetMusicPlus
Toxic
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.563230
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.563230 By Britney Spears. By Cathy Dennis, Christian Karlsson, Henrik Jonback, and Pontus Winnberg. Arranged by Austin Ralphson. Contemporary. Score and parts. 21 pages. Austin Ralphson #3501635. Published by Austin Ralphson (A0.563230). Britney Spears recorded this for her fourth studio album In the Zone (2003). It is a dance song with elements of bhangra music and also features high-pitched Bollywood strings in the original. The tuba line is particularly agile to reflect that of the original!
$14.99
13.61 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Britney Spears
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Austin Ralphson
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Toxic
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Austin Ralphson
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SheetMusicPlus
Mood Indigo
Large Ensemble Alto Saxophone,Bass Guitar,Clarinet,Drum Set,Piano Accompaniment,Tenor Saxo…
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Large Ensemble Alto Saxophone,Bass Guitar,Clarinet,Drum Set,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.944877 By Duke Ellington. By Albany Bigard, Duke Ellington, and Irving Mills. Arranged by Craig Peaslee. Jazz. Score and parts. 32 pages. Craig Peaslee Music #5718731. Published by Craig Peaslee Music (A0.944877). The classic Ellington number arranged for jazz ensemble with four horns: Bb Clarinet (doubling on Alto Saxophone), Tenor Saxophone, Trumpet, Trombone and Rhythm Section (Guitar, Piano, Bass & Drums).Arrangement combines elements from the famed 1931 recording (including 'inverted' horns) and the 1957 Ellington Indigos recording (Piano intro and Trumpet solo).Features a written out Trumpet solo (but includes chords for improvisation)Includes full score and all parts.
$20.00
18.16 €
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Duke Ellington
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Craig Peaslee
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Drums)
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Mood Indigo
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Craig Peaslee Music
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SheetMusicPlus
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