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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Vous avez sélectionné:
Great I Am - Bb Trumpet 1
Partitions à imprimer
17 partitions trouvées
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1
Great I Am - Trumpet 1
Trompette (partie séparée)
Digital Download SKU: HX.195549 Composed by Jared Anderson. Arranged by Cliff Duren…
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Digital Download SKU: HX.195549 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leonard - Digital #216208. Published by Hal Leonard - Digital (HX.195549).
$7.00
6.39 €
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Trompette (partie séparée)
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Jared Anderson
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Cliff Duren
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Great I Am - Trumpet 1
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Hal Leonard - Digital
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SheetMusicPlus
I Am The Walrus
Trompette
B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1451718 By Oasis. By John …
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B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1451718 By Oasis. By John Lennon and Paul McCartney. Arranged by Rene Alves. Broadway,Multicultural,Musical/Show,Pop,Rock,Wedding,World. Individual part. 2 pages. VPIP #1031024. Published by VPIP (A0.1451718). Trumpet sheet music in B flat for the beginner musician of the song I Am The Walrus - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.48 €
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Trompette
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Oasis
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Rene Alves
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I Am The Walrus
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VPIP
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SheetMusicPlus
Dido's Lament (Trumpet Solo)
Trompette
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.1278886 Composed by Henry …
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.1278886 Composed by Henry Purcell. Arranged by B. C. Dockery. Baroque,Classical,Opera. Individual part. 1 pages. Ben Dockery #870432. Published by Ben Dockery (A0.1278886). From Henry Purcell's opera Dido and Aeneas, this is When I am laid in earth arranged for solo B-flat trumpet. Great for lessons, recitals, and performances of all kinds. Intermediate level.
$2.99
2.73 €
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Trompette
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Henry Purcell
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B
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Dido's Lament
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Ben Dockery
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SheetMusicPlus
Great I Am (20-Piece Digital Pack)
Pack Instrumental pour Chorale
Digital Download SKU: HX.195564 Composed by Jared Anderson. Arranged by Cliff Duren…
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Digital Download SKU: HX.195564 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 4 pages. Duration 220. Hal Leonard - Digital #216208. Published by Hal Leonard - Digital (HX.195564).
Digital Pack includes:Great I Am - Full ScoreGreat I Am - Flute 1 & 2Great I Am - OboeGreat I Am - Clarinet 1 & 2Great I Am - Trumpet 1Great I Am - Trumpet 2 & 3Great I Am - F HornGreat I Am - Trombone 1 & 2Great I Am - Trombone 3/TubaGreat I Am - PercussionGreat I Am - HarpGreat I Am - RhythmGreat I Am - Violin 1, 2Great I Am - ViolaGreat I Am - CelloGreat I Am - Double BassGreat I Am - Alto Sax (sub. Horn)Great I Am - Tenor Sax (sub. Tbn 2)Great I Am - Bass Clarinet (sub. Tuba)Great I Am - Keyboard String Reduction
Digital Pack includes
:
Great I Am - Full Score
Great I Am - Flute 1 & 2
Great I Am - Oboe
Great I Am - Clarinet 1 & 2
Great I Am - Trumpet 1
Great I Am - Trumpet 2 & 3
Great I Am - F Horn
Great I Am - Trombone 1 & 2
Great I Am - Trombone 3/Tuba
Great I Am - Percussion
Great I Am - Harp
Great I Am - Rhythm
Great I Am - Violin 1, 2
Great I Am - Viola
Great I Am - Cello
Great I Am - Double Bass
Great I Am - Alto Sax (sub. Horn)
Great I Am - Tenor Sax (sub. Tbn 2)
Great I Am - Bass Clarinet (sub. Tuba)
Great I Am - Keyboard String Reduction
$75.00
68.45 €
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Pack Instrumental pour Chorale
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Jared Anderson
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Cliff Duren
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Great I Am
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Hal Leonard - Digital
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SheetMusicPlus
The Clarke Variations
Trompette
Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by…
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Trumpet Solo - Digital Download SKU: A0.829062 Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Published by ERIC V BOLVIN (A0.829062). Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as the trumpet player’s bible. If that is the case, then the Clarke should be the new testament. I consider Herbert L. Clarke to be the George Washington of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.The impetus for this set of variations is based on the idea of an Expanding Scale or Expanding Range. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are holding one note and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95
15.47 €
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Trompette
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Eric Bolvin
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Eric Bolvin
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The Clarke Variations
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ERIC V BOLVIN
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SheetMusicPlus
Am I Wrong: 2nd B-flat Trumpet
Fanfare
Marching Band - Digital Download SKU: AX.00-PC-0016977_T2 2nd B-flat Trumpet…
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Marching Band - Digital Download SKU: AX.00-PC-0016977_T2 2nd B-flat Trumpet. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Larsen. Afrobeat Pop; Pop. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016977_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016977_T2). UPC: 038081495958.From veteran writer Brian Scott comes this solid arrangement of the hit from pop duo Nico and Vinz. The chart has a great Afrobeat groove and would be perfect for field or stands use. (2:10).
$3.00
2.74 €
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Fanfare
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Nico and Vinz
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Pop
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Am I Wrong: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Am I Wrong: 1st B-flat Trumpet
Fanfare
Marching Band - Digital Download SKU: AX.00-PC-0016977_T1 1st B-flat Trumpet…
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Marching Band - Digital Download SKU: AX.00-PC-0016977_T1 1st B-flat Trumpet. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Larsen. Afrobeat Pop; Pop. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016977_T1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016977_T1). UPC: 038081495958.From veteran writer Brian Scott comes this solid arrangement of the hit from pop duo Nico and Vinz. The chart has a great Afrobeat groove and would be perfect for field or stands use. (2:10).
$3.00
2.74 €
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Fanfare
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Nico and Vinz
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Pop
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Am I Wrong: 1st B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
He Stopped Loving Her Today
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855381
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855381 By George Jones. By Bobby Braddock and Curly Putman. Arranged by Joseph Pugh. Contemporary. Score and parts. 8 pages. Joseph Pugh #6675347. Published by Joseph Pugh (A0.855381). He Stopped Loving Her Today is a song recorded by American country music artist George Jones. It has been named in several surveys as the greatest country song of all time. It was released in April 1980 as the lead single from the album I Am What I Am. The song was Jones's first solo No. 1 single in six years. It was written by Bobby Braddock and Curly Putman.This brass quintet arrangement by Joseph Pugh features trumpet, trombone, and French horn solos. Download it today at a reduced price.
$12.99
11.86 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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George Jones
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Joseph Pugh
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He Stopped Loving Her Today
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Joseph Pugh
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SheetMusicPlus
Come, Proclaim the Victory
Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-18357 Composed by …
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Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-18357 Composed by J. Paul Williams and Joseph M. Martin. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Ascension; Christ the King; Easter; Fall; Sacred; Spring. Part(s). 29 pages. Jubilate Music Group - Digital #00-18357. Published by Jubilate Music Group - Digital (JX.00-18357). English. Psalm 47; John 20:1-18; 1 Corinthians 15: 19-26, 51-5; 1 Timothy 6:11-21.A regal hymn concertato incorporating Crown Him with Many Crowns. Joseph Martin's thrilling original opening journeys through sequencing modulations, Come proclaim the Living Lamb, Great I Am!, culminating in a spinetingling finish with congregational singing. The breathtaking orchestration is highly effective for Easter morning (opt.) brass and percussion parts, CD track available separately). Smaller choirs may prefer the solo trumpet part included in the score. Also appropriate for Ascension. InstruPax includes: director's score, 2 trumpets, 2 trombones, timpani, percussion.
$20.00
18.25 €
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J
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Choral Octavo
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Come, Proclaim the Victory
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Jubilate Music Group - Digital
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SheetMusicPlus
Come, Proclaim the Victory
Chorale SATB
Choir Sacred (SATB choir) - Grade 4 - Digital Download SKU: JX.00-18354 Composed by…
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Choir Sacred (SATB choir) - Grade 4 - Digital Download SKU: JX.00-18354 Composed by J. Paul Williams and Joseph M. Martin. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred SingPraise Series. Ascension; Christ the King; Easter; Fall; Sacred; Spring. Choral Octavo. 12 pages. Jubilate Music Group - Digital #00-18354. Published by Jubilate Music Group - Digital (JX.00-18354). English. 1 Timothy 6:11-21; 1 Corinthians 15: 19-26, 51-5; John 20:1-18; Psalm 47.A regal hymn concertato incorporating Crown Him with Many Crowns. Joseph Martin's thrilling original opening journeys through sequencing modulations, Come proclaim the Living Lamb, Great I Am!, culminating in a spinetingling finish with congregational singing. The breathtaking orchestration is highly effective for Easter morning (opt.) brass and percussion parts, CD track available separately). Smaller choirs may prefer the solo trumpet part included in the score. Also appropriate for Ascension.
$2.25
2.05 €
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Chorale SATB
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J
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Choral Octavo
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Come, Proclaim the Victory
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Jubilate Music Group - Digital
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SheetMusicPlus
Nothing Compares (Anthem) - Orchestration
Large Ensemble Choir - Level 3 - Digital Download SKU: A0.747194 Composed by Christ…
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Large Ensemble Choir - Level 3 - Digital Download SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. Christopher Brown #4601913. Published by Christopher Brown (A0.747194). About the song: This anthem begins by compelling the listener and the performer to consider the parable of the hidden treasure and the pearl. The second verse reflects on David's superlative description of God's Word in Ps. 19. In his letter to the Philippians, Paul speaks of the surpassing worth of knowing Christ when compared to everything else in this life. The lyrics of this song are intended to echo these Truths, encourage the believer, and testify to the incomparable gift of entering into the Kingdom of God, understanding His Word, and being strengthened and set free to do the good works that He prepared in advance for us to do.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1Like a treasure in a field,Is the matchless worth of Christ.For the kingdom of heaven, I give my life.Like a pearl of great value,Perfect and pure.I leave it all behind ‘cause of this I’m sure.Chorus 1He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Verse 2More precious than gold,Is the Word of the Lord.Greater and higher than anything this world affords,It is sweeter than honey,Straight from the comb.My delight is in Jesus, I no longer walk alone.Chorus 2He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my crossAnd I count it all as lossNothing compares to what I have in the Lord.Bridge (x2)In the Lord I find strength for every day, In the Lord every fear is washed away.In the Lord hope and peace are here to stay,Whatever comes my way, I will lift my voice and say.Key ChangeChorus 3He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Nothing compares to what I have in the Lord.Nothing compares to what i have in the Lord.
$49.99
45.62 €
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Christopher R
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Nothing Compares
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Christopher Brown
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SheetMusicPlus
The Clarke Variations-bass clef edition
Bass Clef Instruments
Trombone, Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric…
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Trombone, Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training. 55 pages. Published by Faded Duck Music
Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.<br> <br> There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as “the trumpet player’s bible”. If that is the case, then the Clarke should be “the new testament”. I consider Herbert L. Clarke to be the “George Washington” of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.<br> <br> The impetus for this set of variations is based on the idea of an “Expanding Scale” or “Expanding Range”. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are “holding one note” and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.<br> <br> This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.<br> <br> There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as “the trumpet player’s bible”. If that is the case, then the Clarke should be “the new testament”. I consider Herbert L. Clarke to be the “George Washington” of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.<br> <br> The impetus for this set of variations is based on the idea of an “Expanding Scale” or “Expanding Range”. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are “holding one note” and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.<br> <br> This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95
15.47 €
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Bass Clef Instruments
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Eric Bolvin
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The Clarke Variations-bass clef edition
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Faded Duck Music
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SheetMusicPlus
Santa Claus Is Comin' To Town
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1239519 By Michael…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1239519 By Michael Buble. By Haven Gillespie and John Frederick Coots. Arranged by Bert Ligon [BertLigonMusic.com]. Holiday,Jazz. Score and Parts. 80 pages. Bert Ligon Music #834897. Published by Bert Ligon Music (A0.1239519). Time to plan Holiday Concerts. Santa Claus swing into town. Tenor 1 & Trumpet 4 have solos, or open it up for others. Great opener for your concert. I am adding several more to the Holiday concert list.
$55.00
50.2 €
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Ensemble Jazz
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Michael Buble
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Bert Ligon [BertLigonMusic
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Santa Claus Is Comin' To Town
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Bert Ligon Music
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SheetMusicPlus
America's Favorite Hymns - Brass
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, …
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Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, Sacred. Score and parts. 179 pages. Colin Kirkpatrick Publications #6326509. Published by Colin Kirkpatrick Publications
Here’s a new collection of thirty-two of America’s best-loved hymn tunes for brass, at a bargain price too! The arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing.<br> <br> The publication consists of full scores for each hymn plus separate instrumental parts and an optional simplified keyboard part. All the arrangements are in four parts, reflecting the traditional SATB voicing. The parts include 1st trumpet in B flat; 2nd trumpet in B flat; horn in F; horn in E flat; trombone and optional tuba; bass in B flat and bass in E flat. There are also two optional baritone parts in B flat (T.C.) and C (B.C.) in case you need them. They are the same as the tenor part. In some hymns, you might prefer to assign any baritones to doubling the bass or doubling the melody an octave lower. The baritone part in C is also playable by trombone. The trombone and tuba parts appear on a single staff. Of course, you can use any number of instruments to a particular part. The scores and all the parts are contained in a single 178-page PDF file.<br> <br> <br> The optional keyboard part has been simplified and whenever possible limited to single notes in the left hand part and no more than two-note chords in the right. Using the keyboard part, you can use the arrangements as solos, duets or trios. Because the music has been set in brass-friendly keys, the arrangements are not compatible with the string collection of the same title.<br> <br> The collection includes the following titles: A Mighty Fortress Is Our God (Ein’ Feste Burg); All Creatures Of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Abide with Me (Eventide); All Hail the Power of Jesus’ Name (Coronation); Amazing Grace (Trad); At the Cross (Alas and Did My Savior Bleed) (Hudson); Be Thou My Vision (Slane); Blessed Assurance (Assurance); Blest Be the Tie That Binds (Dennis - Nägeli); Come Thou Fount of Every Blessing (Nettleton); Come We That Love the Lord (St. Thomas); Crown Him with Many Crowns (Diademata); Guide Me O Thou Great Jehovah (Cwm Rhondda); Holy, Holy, Holy (Nicea); How Firm a Foundation (Foundation); It is Well with my Soul (Ville du Havre); Jesus Christ is Risen Today (Easter Hymn); Jesus, Lover of My Soul (Hollingside); Jesus Paid it All (All to Christ); Joy to the World (Antioch); Just as I Am, Without one Plea (Woodworth); Love Divine, All Loves Excelling (Hyfrydol); Nearer my God to Thee (Bethany); Praise To the Lord, The Almighty (Lob den Herren); Rock of Ages (Top¬la¬dy); Shall we gather at the River? (Hanson Place); The Day thou Gave us, Lord is Ended (St. Clement); To God Be The Glory (To God be the Glory); There is a Fountain (Cleansing Fountain); What a Friend We Have in Jesus (Converse) and When I Survey the Wondrous Cross (Hamburg).<br> <br> The audio demo contains the following titles (1) Love Divine, all Loves Excelling; (2) Abide with Me; (3) That a Friend we have in Jesus; (4) Nearer my God to Thee; (5) Shall we gather at the River?Here’s a new collection of thirty-two of America’s best-loved hymn tunes for brass, at a bargain price too! The arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing.<br> <br> The publication consists of full scores for each hymn plus separate instrumental parts and an optional simplified keyboard part. All the arrangements are in four parts, reflecting the traditional SATB voicing. The parts include 1st trumpet in B flat; 2nd trumpet in B flat; horn in F; horn in E flat; trombone and optional tuba; bass in B flat and bass in E flat. There are also two optional baritone parts in B flat (T.C.) and C (B.C.) in case you need them. They are the same as the tenor part. In some hymns, you might prefer to assign any baritones to doubling the bass or doubling the melody an octave lower. The baritone part in C is also playable by trombone. The trombone and tuba parts appear on a single staff. Of course, you can use any number of instruments to a particular part. The scores and all the parts are contained in a single 178-page PDF file.<br> <br> <br> The optional keyboard part has been simplified and whenever possible limited to single notes in the left hand part and no more than two-note chords in the right. Using the keyboard part, you can use the arrangements as solos, duets or trios. Because the music has been set in brass-friendly keys, the arrangements are not compatible with the string collection of the same title.<br> <br> The collection includes the following titles: A Mighty Fortress Is Our God (Ein’ Feste Burg); All Creatures Of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Abide with Me (Eventide); All Hail the Power of Jesus’ Name (Coronation); Amazing Grace (Trad); At the Cross (Alas and Did My Savior Bleed) (Hudson); Be Thou My Vision (Slane); Blessed Assurance (Assurance); Blest Be the Tie That Binds (Dennis - Nägeli); Come Thou Fount of Every Blessing (Nettleton); Come We That Love the Lord (St. Thomas); Crown Him with Many Crowns (Diademata); Guide Me O Thou Great Jehovah (Cwm Rhondda); Holy, Holy, Holy (Nicea); How Firm a Foundation (Foundation); It is Well with my Soul (Ville du Havre); Jesus Christ is Risen Today (Easter Hymn); Jesus, Lover of My Soul (Hollingside); Jesus Paid it All (All to Christ); Joy to the World (Antioch); Just as I Am, Without one Plea (Woodworth); Love Divine, All Loves Excelling (Hyfrydol); Nearer my God to Thee (Bethany); Praise To the Lord, The Almighty (Lob den Herren); Rock of Ages (Top¬la¬dy); Shall we gather at the River? (Hanson Place); The Day thou Gave us, Lord is Ended (St. Clement); To God Be The Glory (To God be the Glory); There is a Fountain (Cleansing Fountain); What a Friend We Have in Jesus (Converse) and When I Survey the Wondrous Cross (Hamburg).<br> <br> The audio demo contains the following titles (1) Love Divine, all Loves Excelling; (2) Abide with Me; (3) That a Friend we have in Jesus; (4) Nearer my God to Thee; (5) Shall we gather at the River?
$16.99
15.51 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Various
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Worship, Sacred
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America's Favorite Hymns - Brass
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Colin Kirkpatrick Publications
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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)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
21.89 €
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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
America's Favorite Hymns - Wind Instruments
Orchestre d'harmonie
Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise and Worsh…
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Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise and Worship. Score, Set of Parts. 244 pages. Published by Colin Kirkpatrick Publications
Here?sa new collection of thirty-two of America?s best-loved hymn tunes, at a bargainprice too! The arrangements are intended either as stand-alone pieces thatcould be used as interludes in a service, or they could be used to accompanysolo, choral or congregational singing. Thepublication consists of a four-staff score in concert pitch together withfifteen separate parts in various transpositions including a simplifiedoptional keyboard part. These four-partarrangements use flexible instrumentation so that you can exercise considerablecontrol over the instrumental voicing or use them for non-standard ensembles. You can also create interesting instrumentaltone color by omitting groups of instruments. If the ensemble is large enoughyou could omit brass instruments in the quieter sections, or use a solo trumpetagainst a woodwind background. There are endless possibilities. Thecomplete set includes Part 1 in B flat, E flat and C (high and low pitch); Part2 in B flat, E flat and C; Part 3 in B flat, E flat, F and C and Part 4 in Bflat, E flat and C. While Part 1 (high pitch) is suitable for flute and oboebeing an octave above concert, the low pitch version is more suited toelementary players. Part 2 in C is an octave higher than concert. Parts 3 and 4in C are in the bass clef. The arrangements could be played by virtually anycombination of conventional wind instruments. Using the optional keyboard partthey could also be used as solos, duets or trios. The scores and all the parts are containedin a single 244-page PDF file. The collection includes the followingtitles: A Mighty Fortress IsOur God (Ein? Feste Burg); All Creatures Of our God and King(Lasst uns Erfreuen); All People that on Earth do Dwell (OldHundredth); Abide with Me (Eventide); AllHail the Power of Jesus? Name (Coronation); Amazing Grace (Trad); At the Cross(Alas and Did My Savior Bleed) (Hudson); Be Thou My Vision(Slane); Blessed Assurance(Assurance); Blest Be the Tie That Binds (Dennis - Nägeli); ComeThou Fount of Every Blessing (Nettleton); ComeWe That Love the Lord (St. Thomas);Crown Him with ManyCrowns (Diademata); Guide Me OThou Great Jehovah (Cwm Rhondda); Holy, Holy, Holy(Nicea); How Firm a Foundation (Foundation); It is Wellwith my Soul (Ville du Havre); Jesus Christ is Risen Today(Easter Hymn);Jesus, Lover of My Soul (Hollingside); JesusPaid it All (All to Christ); Joy to theWorld (Antioch); Just as I Am, Without one Plea (Woodworth); Love Divine, AllLoves Excelling (Hyfrydol); Nearer my God to Thee (Bethany); Praise To the Lord, The Almighty(Lob den Herren); Rock of Ages (Toplady); Shall we gather at the River?(Hanson Place); The Day thou Gave us, Lord is Ended (St. Clement);To God Be The Glory(To God be the Glory); There is a Fountain (Cleansing Fountain);What a Friend WeHave in Jesus (Converse) and WhenI Survey the Wondrous Cross (Hamburg). The audio demo contains the followingtitles (1) Abide with Me; (2) All Hailthe Power of Jesus? Name; (3) A Mighty Fortress is our God and (4) Love Divine,all Loves Excelling.Here?sa new collection of thirty-two of America?s best-loved hymn tunes, at a bargainprice too! The arrangements are intended either as stand-alone pieces thatcould be used as interludes in a service, or they could be used to accompanysolo, choral or congregational singing.
Thepublication consists of a four-staff score in concert pitch together withfifteen separate parts in various transpositions including a simplifiedoptional keyboard part. These four-partarrangements use flexible instrumentation so that you can exercise considerablecontrol over the instrumental voicing or use them for non-standard ensembles. You can also create interesting instrumentaltone color by omitting groups of instruments. If the ensemble is large enoughyou could omit brass instruments in the quieter sections, or use a solo trumpetagainst a woodwind background. There are endless possibilities.
Thecomplete set includes Part 1 in B flat, E flat and C (high and low pitch); Part2 in B flat, E flat and C; Part 3 in B flat, E flat, F and C and Part 4 in Bflat, E flat and C. While Part 1 (high pitch) is suitable for flute and oboebeing an octave above concert, the low pitch version is more suited toelementary players. Part 2 in C is an octave higher than concert. Parts 3 and 4in C are in the bass clef. The arrangements could be played by virtually anycombination of conventional wind instruments. Using the optional keyboard partthey could also be used as solos, duets or trios. The scores and all the parts are containedin a single 244-page PDF file.
The collection includes the followingtitles: A Mighty Fortress IsOur God (Ein? Feste Burg); All Creatures Of our God and King(Lasst uns Erfreuen); All People that on Earth do Dwell (OldHundredth); Abide with Me (Eventide); AllHail the Power of Jesus? Name (Coronation); Amazing Grace (Trad); At the Cross(Alas and Did My Savior Bleed) (Hudson); Be Thou My Vision(Slane); Blessed Assurance(Assurance); Blest Be the Tie That Binds (Dennis - Nägeli); ComeThou Fount of Every Blessing (Nettleton); ComeWe That Love the Lord (St. Thomas);Crown Him with ManyCrowns (Diademata); Guide Me OThou Great Jehovah (Cwm Rhondda); Holy, Holy, Holy(Nicea); How Firm a Foundation (Foundation); It is Wellwith my Soul (Ville du Havre); Jesus Christ is Risen Today(Easter Hymn);Jesus, Lover of My Soul (Hollingside); JesusPaid it All (All to Christ); Joy to theWorld (Antioch); Just as I Am, Without one Plea (Woodworth); Love Divine, AllLoves Excelling (Hyfrydol); Nearer my God to Thee (Bethany); Praise To the Lord, The Almighty(Lob den Herren); Rock of Ages (Toplady); Shall we gather at the River?(Hanson Place); The Day thou Gave us, Lord is Ended (St. Clement);To God Be The Glory(To God be the Glory); There is a Fountain (Cleansing Fountain);What a Friend WeHave in Jesus (Converse) and WhenI Survey the Wondrous Cross (Hamburg).
The audio demo contains the followingtitles (1) Abide with Me; (2) All Hailthe Power of Jesus? Name; (3) A Mighty Fortress is our God and (4) Love Divine,all Loves Excelling.
$23.99
21.89 €
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Orchestre d'harmonie
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Various
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America's Favorite Hymns - Wind Instruments
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Colin Kirkpatrick Publications
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SheetMusicPlus
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