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I Saw The Light - F Horn
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I Saw The Light
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1469409
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1469409 By Hank Williams. By Hank Williams. Arranged by E.L. Hipkiss. Christian,Country,Religious. 7 pages. Edward L. HIpkiss #1047429. Published by Edward L. HIpkiss (A0.1469409). Easy brass quartet/quintet arrangement of classic Hank Williams gospel tune.
$12.99
11.78 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Hank Williams
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E
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I Saw The Light
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Edward L. HIpkiss
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SheetMusicPlus
I Saw The Light
Alto Saxophone,B-Flat Trumpet,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Tenor …
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Alto Saxophone,B-Flat Trumpet,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Tenor Trombone - Level 3 - Digital Download SKU: A0.1289193 By Hal Ketchum. By Todd Rundgren. Arranged by Jim Farley. Pop,Rock. 31 pages. Jim Farley arrangementsone.com #879964. Published by Jim Farley arrangementsone.com (A0.1289193). Arranged for 7-8 piece horn band, including: Directors Score, Piano/Vocal/Chords, Leadsheet, Guitar (chords only), Bass Guitar, Drums, Alto Sax, Tenor Sax (identical to Alto), Trumpets 1 & 2 and Trombone.ABOUT THE ARRANGER: Jim Farley has been a professional musician, composer, arranger, transcriptionist and copyist since the mid 1970's and has thousand of works, spanning various genres, in his catalogue: Musical Theater, College and high School Pep Band, Orchestra, Show Choir, Cruise Ship and Las Vegas Performers as well as arranging for dozens of classic rock horn bands throughout the U.S., Canada & Europe. If you have any questions or want more information on arranging needs, please contact Jim at: jfarley@arrangementsone.com and visit his website at ARRANGEMENTS ON E!
$49.99
45.33 €
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Hal Ketchum
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Jim Farley
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Europe
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I Saw The Light
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Jim Farley arrangementsone.com
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SheetMusicPlus
I Saw The Light
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1289199 By Hal Ketchu…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1289199 By Hal Ketchum. By Todd Rundgren. Arranged by Jim Farley. Pop,Rock. Score. 8 pages. Jim Farley arrangementsone.com #879971. Published by Jim Farley arrangementsone.com (A0.1289199). ABOUT THE ARRANGER: Jim Farley has been a professional musician, composer, arranger, transcriptionist and copyist since the mid 1970's and has thousand of works, spanning various genres, in his catalogue: Musical Theater, College and high School Pep Band, Orchestra, Show Choir, Cruise Ship and Las Vegas Performers as well as arranging for dozens of classic rock horn bands throughout the U.S., Canada & Europe. If you have any questions or want more information on arranging needs, please contact Jim at: jfarley@arrangementsone.com and visit his website at ARRANGEMENTS ON E!
$4.99
4.52 €
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Piano, Voix et Guitare
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Hal Ketchum
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Jim Farley
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Europe
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I Saw The Light
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Jim Farley arrangementsone.com
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SheetMusicPlus
I Saw a Cloud
Ensemble de Cors
Horn Ensemble Horn - Level 3 - Digital Download SKU: A0.1391657 Composed by Austin …
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Horn Ensemble Horn - Level 3 - Digital Download SKU: A0.1391657 Composed by Austin Whisler. 20th Century,21st Century,Chamber,Instructional. 23 pages. AWhislerMusic #975171. Published by AWhislerMusic (A0.1391657). The story for this piece is a rather simple one: I saw a cloud. However, this was not an ordinary cloud. Even against a backdrop such as the Bridger Mountain Range, this cloud was of epic proportions. As I watched this cloud form and descend to meet the peaks, this melody formed in my mind. In this work, you will hear a gentle sunrise give light to the scene, the morning fog rising and becoming a thick blanket nestled into each couloir leading up the ridges. The cloud then descends to obscure the skyline and flow into the Gallatin valley where it becomes a fierce, if short-lived, snowstorm. The flurry ends, the enormous snowflakes settle, and the cloud and fog are eventually blown away to reveal the same mountains, but even more majestic with a fresh blanket of snow.
$11.99
10.87 €
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Ensemble de Cors
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Austin Whisler
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I Saw a Cloud
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AWhislerMusic
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SheetMusicPlus
I Saw The Light
Jazz combo
Jazz Combo - Level 3 - Digital Download SKU: A0.1122737 By Hal Ketchum. By Todd Run…
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Jazz Combo - Level 3 - Digital Download SKU: A0.1122737 By Hal Ketchum. By Todd Rundgren. Arranged by Bruce Muckala. 20th Century,Pop,Rock. Score and parts. 22 pages. Bruce Muckala #723698. Published by Bruce Muckala (A0.1122737). Full band arrangement with horns.
$24.99
22.66 €
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Jazz combo
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Hal Ketchum
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Bruce Muckala
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I Saw The Light
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Bruce Muckala
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SheetMusicPlus
Love Theme (tema D'amore)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1300359 Composed by Andrea Morricon…
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Piano Solo - Level 4 - Digital Download SKU: A0.1300359 Composed by Andrea Morricone and Ennio Morricone. Arranged by ROBERT VAN HORNE. Classical,Film/TV,Historic,Instructional,Romantic Period. Score. 9 pages. White Piano International Publishing #890079. Published by White Piano International Publishing (A0.1300359). LOVE THEME from Cinema Paradiso (Piano Solo Arrangement)Advanced Intermediate Piano Solo9 pagesDuration is about 4:15I can’t remember when I first saw the movie CINEMA PARADISO…maybe in the Fall of 2018. The story and especially the music left me memorized and haunted by the themes of music intertwined with the characters portrayed in this beautiful and award winning movie.My favorite music from the movie is the “LOVE THEME composed by Ennio Morricone and his son Andrea Morricone. I think this exquisite music creates an atmosphere that is unforgettable, unique and quite memorable.After having the opportunity of watching the movie again in August 2023, I decided to create a piano arrangement of the LOVE THEME. The arrangement is an advanced intermediate piano solo. I incorporated my own style of arpeggios at the beginning and at the end of the arrangement with musical voicings to enhance the thematic melody. Also, I've included short melodic snippets from two of the other musical themes from the movie, connecting the beautiful LOVE THEME. The sheet music is clearly notated in the Classical tradition with dynamic and articulation marks, phrasing, pedal indications, suggested fingerings, chord identifications, and appropriate musical terms for playing.LOVE THEME from Cinema Paradiso is an excellent teaching piece and repertoire selection.It’s captivating melody is ideal for recitals and school musical events as well as an excellent encore for professionals…a delightful musical listening treat for audiences and for advancing piano students.The mp3 sample begins on page 6 of the piano arrangement.Robert Van Horne is a long standing member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$5.99
5.43 €
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Piano seul
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Andrea Morricone and Ennio Morricone
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ROBERT VAN HORNE
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Love Theme
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White Piano International Publishing
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SheetMusicPlus
I Saw Three Ships (Come Sailing In) for woodwind quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.720629 Composed by Traditional English Carol. Arranged by Ralph Raymond Hays. Christmas,Multicultural,Praise & Worship,World. 10 pages. Ralph Raymond Hays #4640573. Published by Ralph Raymond Hays (A0.720629). No mere transcription, this magnificent arrangement enhances the familiar melody with masterful counterpoint and engaging harmonic substitutions. All members of the ensemble are featured, delighting the performers and audience members alike.
$12.99
11.78 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Traditional English Carol
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Ralph Raymond Hays
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I Saw Three Ships
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Ralph Raymond Hays
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SheetMusicPlus
I Saw Three Ships (Come Sailing In) for brass quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble - Level 4 - Digital Download SKU: A0.720635 Composed by Traditional …
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Brass Ensemble - Level 4 - Digital Download SKU: A0.720635 Composed by Traditional English Carol. Arranged by Ralph Raymond Hays. Christmas,Concert,Praise & Worship,World. Score and parts. 9 pages. Ralph Raymond Hays #4716349. Published by Ralph Raymond Hays (A0.720635). No mere transcription, this magnificent arrangement enhances the familiar melody with masterful counterpoint and engaging harmonic substitutions. All members of the ensemble are featured, delighting the performers and audience members alike.
$12.99
11.78 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Traditional English Carol
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Ralph Raymond Hays
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I Saw Three Ships
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Ralph Raymond Hays
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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
21.75 €
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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
The First Time Ever I Saw Your Face
Alto Voice,Baritone Horn TC,Bass Voice,Mezzo-Soprano Voice,Piano,Tenor Voice - Level 4 - D…
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Alto Voice,Baritone Horn TC,Bass Voice,Mezzo-Soprano Voice,Piano,Tenor Voice - Level 4 - Digital Download SKU: A0.1473304 By Various. By Ewan MacColl. Arranged by Kirstie Smith. 20th Century,Chamber,Classical,Wedding. Full Performance. Duration 310. Kirstie Smith #1051092. Published by Kirstie Smith (A0.1473304). Full audio performance of a unique SATB (divisi) improvised recording of 'The First Time Ever I Saw Your Face' .This recording was made during the 2020 UK lockdown, a difficult time for all, self-employed musicians included, but which allowed time for artistic creativity resulting in an improvised vocal / piano performance in an impressionistic film-score style.Although no referring score has been completed yet, if this MP3 audio is downloaded twice a score will be written and published.According to Wikipedia (08/06/2024) The First Time Ever I Saw Your Face was originally a 1957 folk song written by British political singer-songwriter Ewan MacColl for Peggy Seeger, who later became his wife. During the 1960s, it was recorded by various folk singers and became a major international hit for Roberta Flack in 1972, winning Grammy Awards for Record of the Year and Song of the Year. Billboard ranked it as the number-one Hot 100 single of the year for 1972. FUN FACT: The First Time Ever I Saw Your Face was played as the wake-up music on flight day 9 to the astronauts aboard Apollo 17 on their last day in Lunar orbit (Friday, December 15, 1972) before returning to Earth, thus ending the last human explorations of the Moon. The use of the song was most likely a reference to the face of the Moon below the spacecraft.
$4.99
4.52 €
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Various
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Kirstie Smith
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The First Time Ever I Saw Your Face
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Kirstie Smith
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SheetMusicPlus
I Saw Three Ships [Make the Season Bright collection]
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327405 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327405 By West Arts Brass. By Traditional (English). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 4 pages. Grey Wanderer Publishing, BMI #914098. Published by Grey Wanderer Publishing, BMI (A0.1327405). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.  The style of the arrangements are meant to evoke sounds of the British brass ensembles of old.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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I Saw Three Ships [Make the Season Bright collection]
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Warsaw Concerto
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.914964 Composed by Richard Addinsel…
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Piano Solo - Level 5 - Digital Download SKU: A0.914964 Composed by Richard Addinsell. Arranged by ROBERT VAN HORNE. 20th Century,Film/TV,Instructional,Romantic Period,Standards. Score. 23 pages. White Piano International Publishing #5955201. Published by White Piano International Publishing (A0.914964). WARSAW CONCERTO (A New Piano Solo Arrangement) by Richard Addinsell Arranged by Robert Van Horne 23 pagesPublished by White Piano International Publishing 2020 As a graduate from the Philadelphia Musical Academy in 1971, I included in my repertoire light Classical piano music. After watching the 1941 movie DANGEROUS MOONLIGHT and hearing the majestic and haunting piano and orchestra piece The Warsaw Concerto, I arranged this new advanced piano solo version. There are 23 easy-to-read pages as well as patterned arpeggios that are different than the original score. The pages are clearly notated with suggested fingerings and sostenuto pedal markings. The damper pedal is not marked, but can be used at the discretion of the performer. Rubato, tempo and dynamic passages are indicated throughout the score. This is a wonderful arrangement for advanced students, professional pianists, or piano teachers. ASCAP Member Website: www.robertvanhorne.com Email: rvh@robertvanhorne.com Â
$9.95
9.02 €
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Piano seul
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Richard Addinsell
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ROBERT VAN HORNE
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Warsaw Concerto
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White Piano International Publishing
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SheetMusicPlus
What Child Is This? [Make the Season Bright collection]
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327494 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327494 By West Arts Brass. By lyrics: William Chatterton Dix and melody: Traditional (English). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915476. Published by Grey Wanderer Publishing, BMI (A0.1327494). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.  The style of the arrangements are meant to evoke sounds of the British brass ensembles of old.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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What Child Is This? [Make the Season Bright collection]
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
The Holly and the Ivy
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327587 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327587 By West Arts Brass. By Traditional (English). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915631. Published by Grey Wanderer Publishing, BMI (A0.1327587). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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The Holly and the Ivy
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Here We Come a-Wassailing [Make the Season Bright collection]
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327583 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327583 By West Arts Brass. By Traditional (English). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915627. Published by Grey Wanderer Publishing, BMI (A0.1327583). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Here We Come a-Wassailing [Make the Season Bright collection]
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
LAID TO REST - Brass Band
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.912667 Composed by Johnson Lee. Contemporary. Brass Band. 51 pages. Johnson lee #5827835. Published by johnson lee (A0.912667). Laid to Rest composed by Johnson Lee was played at the funeral of the late Mr Lee Kuan Yew, founding Prime Minister of modern Singapore. I was moved to compose this piece Laid to Rest as I saw death as a final resting place and the funeral, a celebration of that person’s life as he is sent off on a journey of peace. Hence, this piece takes on a lighter, hopeful yet reflective feel compared to other pieces of heavier, melancholic notes. I was deeply honoured when it was first played / performed at Singapore’s late founding father, Senior Minister Lee Kuan Yew’s funeral. I had to control my tears as I was conducting the band and was so grateful for being able to honour him with my composition.
$40.00
36.27 €
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Johnson Lee
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LAID TO REST - Brass Band
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johnson lee
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SheetMusicPlus
I Saw The Light - Alto Sax (Horn sub)
Saxophone (partie séparée)
By Hank Williams. By Hank Williams. Arranged by Camp Kirkland. Orchestra. Concert; Gospel;…
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By Hank Williams. By Hank Williams. Arranged by Camp Kirkland. Orchestra. Concert; Gospel; Sacred. EPak. 4 pages. Duration 3:05. Published by Hal Leonard - Digital Sheet Music
$7.00
6.35 €
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Saxophone (partie séparée)
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Hank Williams
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Camp Kirkland
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Gospel
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I Saw The Light - Alto Sax
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Bring a Torch, Jeanette Isabella
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327588 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327588 By West Arts Brass. By Traditional (French). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 4 pages. Grey Wanderer Publishing, BMI #915632. Published by Grey Wanderer Publishing, BMI (A0.1327588). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Bring a Torch, Jeanette Isabella
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Jingle Bells
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327598 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327598 By West Arts Brass. By James Lord Pierpont. Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 9 pages. Grey Wanderer Publishing, BMI #915642. Published by Grey Wanderer Publishing, BMI (A0.1327598). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Jingle Bells
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
O Little Town of Bethlehem
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327589 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327589 By West Arts Brass. By lyrics: Phillip Brooks and melody: Lewis Redner. Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915633. Published by Grey Wanderer Publishing, BMI (A0.1327589). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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O Little Town of Bethlehem
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Wexford Carol
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327595 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327595 By West Arts Brass. By Traditional (Irish). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915639. Published by Grey Wanderer Publishing, BMI (A0.1327595). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Wexford Carol
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Sussex Carol
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327594 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327594 By West Arts Brass. By Traditional (Irish, English). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915638. Published by Grey Wanderer Publishing, BMI (A0.1327594). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Sussex Carol
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Ding Dong! Merrily on High
Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327591 By West Arts …
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Baritone Horn TC,Trumpet - Level 4 - Digital Download SKU: A0.1327591 By West Arts Brass. By lyrics: George Ratcliffe Woodward and melody: Traditional (French). Arranged by Will Stewart. Christmas,Classical,Holiday,Traditional. 5 pages. Grey Wanderer Publishing, BMI #915635. Published by Grey Wanderer Publishing, BMI (A0.1327591). Make the Season Bright is a whimsical collection of classic Christmas carols and songs, arranged for brass trio, and crafted to delight both performers and listeners.The brass trio consists of 2 Bb trumpets and a Bb baritone in treble clef and are arranged for Advanced Intermediate players.  The Bb baritone was chosen so a third trumpet player could switch to the instrument with minimal difficulty if a more experienced baritone player is not available.  The melodies in the collection are shared between all three instruments, and the songs were intended to be performed as a set.Originally written for the students of the West Arts Academy School of Music, the arrangements are notated here as they were recorded by academy faculty trio West Arts Brass for the HiCap Records release “Make the Season Brightâ€.  All songs in the collection are arranged by Will Stewart and published by Grey Wanderer Publishing.Make the Season Bright arrangements:I Saw Three ShipsWhat Child Is This?Here We Come a-WassailingThe Holly and the IvyBring a Torch, Jeanette IsabellaO Little Town of BethlehemDing Dong! Merrily on HighSussex CarolWexford CarolJingle BellsMake the Season Bright Album:https://westartsbrass.bandcamp.com/album/make-the-season-brightGrey Wanderer Publishing Website:https://greywandererpublishing.com
$4.99
4.52 €
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West Arts Brass
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Will Stewart
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Ding Dong! Merrily on High
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Grey Wanderer Publishing, BMI
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SheetMusicPlus
Boogie Woogie Bugle Boy
Small Ensemble Alto Saxophone,Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Downloa…
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Small Ensemble Alto Saxophone,Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802617 By Bette Midler. By Don Raye and Hughie Prince. Arranged by Peet du Toit. Contemporary. Score and parts. 44 pages. Peet du Toit #6016933. Published by Peet du Toit (A0.802617). Boogie Woogie Bugle Boy is a song which became a major hit for The Andrews Sisters and an iconic World War II tune that first appeared in the Abbott & Costello comedy film, Buck Privates. It reached number six on the U.S. pop singles chart in early 1941. The song is ranked No. 6 on Songs of the Century. Bette Midler's 1972 recording of the song also reached the top ten on the U.S. Billboard Hot 100.Boogie Woogie Bugle Boy was nominated for the Academy Award for Best Original Song but lost out to The Last Time I Saw Paris.The song is closely based on an earlier Raye-Prince hit, Beat Me Daddy, Eight to the Bar, which is about a virtuoso boogie-woogie piano player.This arrangement is for a slightly smaller ensemble, consisting of an alto sax, 4 trumpets, a french horn, 3 trombones, a tuba and percussion.
$24.00
21.76 €
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Bette Midler
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Peet du Toit
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Costello
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Boogie Woogie Bugle Boy
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Peet du Toit
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SheetMusicPlus
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