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Guthrie: The Trumpet, French Horn
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Vous avez sélectionné:
Guthrie: The Trumpet, French Horn
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23 partitions trouvées
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Guthrie: The Trumpet, French Horn & Tuba Christmas Trio Book - Advanced Edition
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Traditional
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James M
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Guthrie: The Trumpet, French H
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jmsgu3
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SheetMusicPlus
Horn,Trumpet,Tuba - Level 4 - SKU: A0.1383012 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Contemporary,Contest,Festival,Hol...
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Horn,Trumpet,Tuba - Level 4 - SKU: A0.1383012 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Contemporary,Contest,Festival,Holiday. 117 pages. Jmsgu3 #967440. Published by jmsgu3 (A0.1383012). O Come, O Come, Emmanuel (Veni, veni Emmanuel)Helmsley      Joy to the World (Antioch)It Came Upon a Midnight Clear (Carol)Lo, How a Rose E’er Blooming (Es ist ein Ros)Angels We Have Heard on High (Gloria)God Rests Ye Merry, Gentlemen (God Rest You Merry)What Child is This? (Greensleeves)In Dulci Jubilo Hark the Herald Angels Sing (Mendelssohn )Personet hodie       The First Noel       Salzburg     We Three Kings (Three Kings of Orient)O Come, All Ye Faithful (Adeste Fidelis)     O Little Town of Bethlehem (St. Louis)Away in a MangerSilent Night (Stille Nacht)Auld Lang Syne      We Wish You a Merry Christmas.
$39.95
Sullivan: The Lost Chord for French Horn & Piano
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Cor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for F
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jmsgu3
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SheetMusicPlus
French Horn,Piano - Level 4 - SKU: A0.549460 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period...
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French Horn,Piano - Level 4 - SKU: A0.549460 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497289. Published by jmsgu3 (A0.549460). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
The Trumpet, French Horn & Tuba Christmas Trio Book
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Ensemble de cuivres
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FACILE
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Noël
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Traditional
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James M
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Tuba
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The Trumpet, French Horn &
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 2 - SKU: A0.550828 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christian,Christmas,Holiday,Instructional,Standa...
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Brass Ensemble - Level 2 - SKU: A0.550828 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christian,Christmas,Holiday,Instructional,Standards. Score and parts. 61 pages. Jmsgu3 #4834643. Published by jmsgu3 (A0.550828). 20 of the most popular Traditional Christmas songs arranged for Trumpet, French Horn & Tuba. Each song is arranged in three versions where each instrument has the melody in turn. Score: 60 pages, Duration: 40 min. Players read from the score.Contents Veni, veni Emannuel 1 Helmsley 4 Antioch 7 Carol 10 Es ist ein Ros 13 Gloria 16 God Rest You Merry 19 Greensleeves 22 In Dulci Jubilo 25 Mendelssohn 28 Personet hodie 31 The First Noel 34 Salzburg 37 Three Kings of Orient &.
$39.95
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
BACH: French Suite No. 2 BWV 813 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 2 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.513333 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.513333 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 38 pages. Jmsgu3 #124097. Published by jmsgu3 (A0.513333). J. S. Bach: French Suite No. 2 BWV 813 Duration: 11:21 Score: 16 pages. Contents: Allemande, Courante, Sarabande, Air, Menuet, Gigue.Johann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works.
$39.95
BACH: French Suite No. 4 BWV 815 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 4 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.513354 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.513354 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 38 pages. Jmsgu3 #124120. Published by jmsgu3 (A0.513354). J. S. Bach: French Suite No. 4 BWV 815 Duration: 11:14 Score: 16 pages. Contents: Allemande, Courante, Sarabande, Gavotte, Air, Gigue.Johann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works.
$39.95
BACH: French Suite No. 1 BWV 812 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 1 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.513326 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.513326 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 34 pages. Jmsgu3 #124025. Published by jmsgu3 (A0.513326). J. S. Bach: French Suite No. 1 BWV 812 Duration: 12:00 Score: 14 pages. Contents: Allemande, Courante, Sarabande, Menuet I, Menuet II, Gigue.Johann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works.
$39.95
BACH: French Suite No. 3 BWV 814 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 3 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.513341 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.513341 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 38 pages. Jmsgu3 #124104. Published by jmsgu3 (A0.513341). J. S. Bach: French Suite No. 3 BWV 814 Duration: 12:21 Score: 15 pages. Contents: Allemande, Courante, Sarabande, Menuet-Trio, Gavotte, Gigue.Johann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works.
$39.95
BACH: French Suite No. 5 BWV 816 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 5 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.515699 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.515699 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 47 pages. Jmsgu3 #126413. Published by jmsgu3 (A0.515699). J. S. Bach: French Suite No. 5 BWV 816 Duration: 16:10 Score: 20 pages. Contents: Allemande, Courante, Sarabande, Gavotte, Bourrée I, Bourrée II, Gigue.Johann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works.
$39.95
BACH: French Suite No. 6 BWV 817 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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BACH: French Suite No. 6 BWV 8
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.516591 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditiona...
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Brass Ensemble - Level 4 - SKU: A0.516591 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional. Score and parts. 46 pages. Jmsgu3 #127308. Published by jmsgu3 (A0.516591). J. S. Bach: French Suite No. 6 BWV 817 Duration: 13:24 Score: 20 pages. Contents: Allemande, Courante, Sarabande, Gavotte, Polonaise, Bourrée, Menuet, GigueJohann Sebastian Bach is widely considered one of the greatest composers of all time. He was born in Eisenach, Thuringia, Germany in 1685 and is best known for his mastery of the Baroque era of musical composition. One of Bach's most beloved works is the set of French Suites, which he composed in the years between 1722 and 1725. These suites consist of six movements, usually in the forms of allemandes, courantes, sarabandes, gigues, and minuets, which Bach filled with intricate ornamentation.The French Suites were highly influential to later composers, particularly those of the Classical and Romantic periods. Bach's inventiveness in the suites marked a new level of finesse and virtuosity in composition. He also demonstrated his ability to work with preexisting forms and conventions to create a unified and well-crafted whole. The French Suites continue to be performed around the world today, and they remain some of the best-known and most appreciated works of all time.
$39.95
Bach: Air on a G String for French Horn & Harp
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Classique
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Johann Sebastian Bach
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James M
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Bach: Air on a G String for Fr
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jmsgu3
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SheetMusicPlus
Harp,Horn,Instrumental Duet - Level 2 - SKU: A0.1277153 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festiva...
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Harp,Horn,Instrumental Duet - Level 2 - SKU: A0.1277153 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Traditional,Wedding. 8 pages. Jmsgu3 #868841. Published by jmsgu3 (A0.1277153). Air on a G String is the popular nickname for the Air from Orchestral Suite #3 in D Major, BWV 1068 by J. S. Bach. Duration: 5:53 (taking both repeats). Level: Intermediate and up. Programming: Great choice for recitals and useful for almost any church service, reception, wedding, or event where insightful meditation is desired. This music is well known and admired by nearly everyone, so you will have an advantage in providing something familiar and well-cherished for your audience. This is the piece to demonstrate dynamic control, tone quality, and strategic phrasing of long melodic lines.Bach: Air on a G String - ~ Bach composed three noteworthy Orchestral Suites. He wrote his third orchestral suite, BWV 1068 in D, for his Collegium Musicum. The Overture of the suite features a double-dotted rhythm in the French style and employs the entire ensemble: trumpet trio, timpani, oboe duet, and strings. The strings were the typical 2 violin parts, viola part, and continuo of cello and harpsichord. Air - the title of the second movement, is, by contrast, scored only for the strings. It seems like this work was entitled Air on a G String not by Bach, but by a nineteenth-century violinist named August Wilhelmj. He arranged the Air such that the first violin part was performed by a single soloist – and entirely on the G String.
$32.95
Guthrie: The Lighthouse Concert Overture
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Orchestre
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INTERMÉDIAIRE
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James M
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Guthrie: The Lighthouse Concer
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jmsgu3
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.551963 Composed by James M. Guthrie. 20th Century,Holiday. Score and Parts. 125 pages. Jmsgu3 #5823955. Published by ...
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Full Orchestra - Level 3 - SKU: A0.551963 Composed by James M. Guthrie. 20th Century,Holiday. Score and Parts. 125 pages. Jmsgu3 #5823955. Published by jmsgu3 (A0.551963). Score: 48 pages. Duration: 8:20Â Instrumentation:2 flutes2 oboes2 clarinets2 bassoons2 french horns2 trumpets2 trombones (1 tenor & 1 bass)1 tuba2 timpanipercussion 1: bass drum, suspended cymbalpercussion 2: crash cymbals, trianglestrings.
$99.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Machaut: La Messe de Nostre Dame for Brass Quartet - Score Only
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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FACILE
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Guillaume de Machaut, 1300-137
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James M
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2 Trombones 1
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Machaut: La Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Brass Quartet - Level 2 - SKU: A0.1257202 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,...
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Brass Quartet - Level 2 - SKU: A0.1257202 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850533. Published by jmsgu3 (A0.1257202). INSTRUMENTATION: Cornet, French Horn & 2 Trombones 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Â Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. Â The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Â Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.
$49.95
This Land Is Your Land
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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FACILE
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Folklorique/Traditionel
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New Christy Minstrels
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Stephen DeCesare
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This Land Is Your Land
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Exultet Music
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 2 - SKU: A0.631336 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score an...
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Brass Ensemble Horn,Trombone,Trumpet - Level 2 - SKU: A0.631336 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and parts. 20 pages. Exultet Music #6532281. Published by Exultet Music (A0.631336). One of the United States' most famous folk songs. which was written in critical response to Irving Berlin's God Bless America. When Guthrie was tired of hearing Kate Smith sing God Bless America on the radio in the late 1930s, he wrote this song and it has been freshly arranged for a Brass Quartet (Bb-Trumpet (2), French Horn, Trombone) with Piano accompaniment. Accessible and appropriate for any school or concert setting.
$12.99
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
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Ensemble de saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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Bach: Brandenburg Concerto No.
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jmsgu3
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SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - SKU: A0.1402348 Composed by Johann S...
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Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - SKU: A0.1402348 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 149 pages. Jmsgu3 #985560. Published by jmsgu3 (A0.1402348). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$74.95
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
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Classique
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Johann Sebastian Bach
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James M
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Bach: Brandenburg Concerto No.
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standar...
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Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95
Saint-Saëns: Danse Macabre for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Halloween
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Camille Saint-Saens
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James M
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Saint-Saëns: Danse Macabr
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pages. Jmsgu3 #436...
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Concert Band - Level 3 - SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pages. Jmsgu3 #4366268. Published by jmsgu3 (A0.549996). Full-length arrangement for Concert Band. Instrumentation: 2 flutes, 1 oboe, 2 Bb clarinets, 1 bass clarinet, 2 alto saxes, 1 tenor sax, 1 baritone sax, 2 Bb trumpets, 2 horns in F, 2 tenor trombones, 1 tuba. Melodic percussion: xylophone (or marimba) chimes (or tubular bells). Percussion 1: snare drum, crash cymbals, gong. Percussion 2: bass drum, crash cymbals, gong.The significance of Saint-Saëns' Danse Macabre lies in its representation of death as the great social equalizer and its association with Halloween and the macabre. Originally an art song for voice and piano, the piece was later expanded and reworked into a tone poem for violin and large orchestra, becoming one of Saint-Saëns' most famous works.Representation of Death: Danse Macabre was inspired by the French legend that Death plays the fiddle at midnight on Halloween, causing the skeletons in the cemetery to crawl out of their graves for a dance party. The theme of death as the great social equalizer, where no one can escape the dance with death, is depicted in the music and has inspired various paintings and art pieces.Composition and Reception: The piece is in the key of G minor and scored for an obbligato violin and an orchestra of various instruments.  When it was first performed in 1875, Danse Macabre received mixed reviews, with some critics expressing anxiety due to its dissonance, use of a xylophone, and hypnotic repetitions. However, it is now considered one of Saint-Saëns' masterpieces and is widely regarded and reproduced in high and popular culture.
$82.95
This Land Is Your Land
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Folklorique/Traditionel
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New Christy Minstrels
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Stephen DeCesare
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This Land Is Your Land
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Exultet Music
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SheetMusicPlus
Instrumental Duet,Piano Horn,Instrumental Duet,Piano,Trumpet - Level 2 - SKU: A0.631327 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen ...
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Instrumental Duet,Piano Horn,Instrumental Duet,Piano,Trumpet - Level 2 - SKU: A0.631327 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and parts. 14 pages. Exultet Music #6532121. Published by Exultet Music (A0.631327). One of the United States' most famous folk songs. which was written in critical response to Irving Berlin's God Bless America. When Guthrie was tired of hearing Kate Smith sing God Bless America on the radio in the late 1930s, he wrote this song and it has been freshly arranged as a duet for a Bb-Trumpet and French Horn with Piano accompaniment. Accessible and appropriate for any school or concert setting.
$4.99
This Land Is Your Land
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Folklorique/Traditionel
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New Christy Minstrels
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Stephen DeCesare
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This Land Is Your Land
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Exultet Music
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.631337 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and par...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.631337 By New Christy Minstrels. By Woody Guthrie. Arranged by Stephen DeCesare. Folk. Score and parts. 20 pages. Exultet Music #6532285. Published by Exultet Music (A0.631337). (This version contains two Trombones in place of a French Horn and Trombone) One of the United States' most famous folk songs. which was written in critical response to Irving Berlin's God Bless America. When Guthrie was tired of hearing Kate Smith sing God Bless America on the radio in the late 1930s, he wrote this song and it has been freshly arranged for a Brass Quartet (Bb-Trumpet (2), Trombone (2) ) with Piano accompaniment. Accessible and appropriate for any school or concert setting.
$12.99
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Guthrie: The Trumpet, French Horn 
