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Vous avez sélectionné:
It's All Right with Me: 3rd Trombone
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It's All Right with Me: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_TN3 3rd Trombone. Com…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_TN3 3rd Trombone. Composed by Cole Porter. Arranged by Alan Baylock. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017488_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017488_TN3). UPC: 038081521237.This chart has a contemporary half-time funk feel played around half note=96 BPM. Lead trumpet range is to written B-flat, a suggested written alto sax solo, the initial melody is stated by trombones and then bounces to each section. (3:36).
$3.00
2.75 €
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Trombone (partie séparée)
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Cole Porter
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Alan Baylock
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It's All Right with Me: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
It's All Right with Me: 3rd B-flat Trumpet
Trompette (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_T3 3rd B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_T3 3rd B-flat Trumpet. Composed by Cole Porter. Arranged by Alan Baylock. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017488_T3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017488_T3). UPC: 038081521237.This chart has a contemporary half-time funk feel played around half note=96 BPM. Lead trumpet range is to written B-flat, a suggested written alto sax solo, the initial melody is stated by trombones and then bounces to each section. (3:36).
$3.00
2.75 €
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Trompette (partie séparée)
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Cole Porter
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Alan Baylock
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It's All Right with Me: 3rd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
It's All Right with Me: 3rd Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_BTC3 3rd Baritone T.C.
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017488_BTC3 3rd Baritone T.C.. Composed by Cole Porter. Arranged by Alan Baylock. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017488_BTC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017488_BTC3). UPC: 038081521237.This chart has a contemporary half-time funk feel played around half note=96 BPM. Lead trumpet range is to written B-flat, a suggested written alto sax solo, the initial melody is stated by trombones and then bounces to each section. (3:36).
$3.00
2.75 €
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Saxhorn / bariton b.c. (partie séparée)
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Cole Porter
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Alan Baylock
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It's All Right with Me: 3rd Baritone T.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
It's All Right with Me: 3rd Trombone
Trombone (partie séparée)
By Cole Porter. Arranged by Gordon Goodwin. For Jazz Ensemble. Instructional. Part. 4 page…
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By Cole Porter. Arranged by Gordon Goodwin. For Jazz Ensemble. Instructional. Part. 4 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.75 €
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Trombone (partie séparée)
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Cole Porter
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Gordon Goodwin
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It's All Right with Me: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
My Bucket's Got A Hole In It
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453561 By Hank Wi…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453561 By Hank Williams. By Clarence Williams. Arranged by John Hoesly. Blues,Jazz,Pop. 62 pages. PRS&B #1032785. Published by PRS&B (A0.1453561). MY BUCKET’S GOT A HOLE IN IT- Great old blues tune presented in the style of Count Basie. Rich, thick harmonies. Arrangement for Little Big Band/ Jazz Ensemble. My Bucket's Got a Hole in It has been recorded by various artists, but it's perhaps most famously associated with Country & Western legend, Hank Williams. The song was written by Clarence Williams, and it was recorded by Williams in 1949. Difficulty: Intermediate. Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Hank Williams
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John Hoesly
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Western legend, Hank Williams
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My Bucket's Got A Hole In It
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PRS&B
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SheetMusicPlus
I'm Gonna Sit Right Down And Write Myself A Letter
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453550 By Billy W…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453550 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by John Hoesly. Broadway,Jazz,Musical/Show,Pop,Standards. 52 pages. PRS&B #1032775. Published by PRS&B (A0.1453550). I’m Gonna Sit Right Down And Write Myself A Letter- music by Fred E. Ahlert and lyrics by Joe Young. Arrangement for Little Big Band/ Jazz Ensemble. Written in 1935 and one of the most recorded songs ever. It seemed to work in all genres. Rock, Swing, Pop…on and on. Recorded by Frank Sinatra, Nat King Cole, Barry Manilow, Willie Nelson, Bill Haley and His Comets, Fats Waller and Count Basie. Even Paul McCartney.This arrangement is in the style of Basie’s LIL’ DARLIN’…a slow burn. Relaxed, but full of energy. Difficulty: Intermediate. A standard of the Great American Songbook.Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Billy Williams
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John Hoesly
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I'm Gonna Sit Right Down And Write Myself A Letter
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PRS&B
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SheetMusicPlus
Killing Me Softly With His Song
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453554 By Fugees.…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453554 By Fugees. By Charles Fox and Norman Gimbel. Arranged by John Hoesly. Jazz,Pop,Rock,Standards. 55 pages. PRS&B #1032778. Published by PRS&B (A0.1453554). KILLING ME SOFTLY WITH HIS SONG- Arrangement for Little Big Band/ Jazz Ensemble. Beautiful soft rock ballad made famous by Roberta Flack. Killing Me Softly with His Song is a soulful and introspective ballad that captivates with its emotional depth and haunting melody. Killing Me Softly with His Song has since been covered by numerous artists, each bringing their own unique interpretation to the timeless classic. Despite the passage of time, the song's universal themes of love, longing, and the power of music to connect us remain as resonant as ever, ensuring its enduring appeal for generations to com Difficulty: Intermediate.Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Fugees
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John Hoesly
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Killing Me Softly With His Song
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PRS&B
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SheetMusicPlus
They Can't Take That Away From Me
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453574 By Frank S…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453574 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Hoesly. Film/TV,Jazz,Pop,Standards. 71 pages. PRS&B #1032798. Published by PRS&B (A0.1453574). THEY CAN’T TAKE THAT AWAY FROM ME- Arrangement for Little Big Band/ Jazz Ensemble. Difficulty: Intermediate. They Can't Take That Away from Me has become a standard in the Great American Songbook, celebrated for its timeless elegance and emotional resonance. One of Gershwin’s best. Features a nice counter line/answer motive.Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Frank Sinatra
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John Hoesly
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They Can't Take That Away From Me
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PRS&B
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.03 €
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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
Stride- based on a theme from Rhapsody In Blue for little big band
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453565 By George …
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453565 By George Gershwin. By George Gershwin. Arranged by John Hoesly. Jazz,Standards. 78 pages. PRS&B #1032789. Published by PRS&B (A0.1453565). Stride: from Rhapsody In Blue- Arrangement for Little Big Band/ Jazz Ensemble. Difficulty: Intermediate. Based on a theme from Rhapsody In Blue by George Gershwin. Rhapsody In Blue is considered an American musical masterpiece. Written by George Gershwin in 1924, right from it’s opening notes it conjures up The Jazz Age, The American Scene, New York City, and as Gershwin himself described, “national pep”. This is known as the Stride theme because of it’s resembling a typical stride piano accompaniment so prominent in the era. Here, it is presented as a stand-alone tune. Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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George Gershwin
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John Hoesly
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Stride- based on a theme from Rhapsody In Blue for little big band
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PRS&B
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SheetMusicPlus
Lady Be Good, Oh- for little big band
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453557 By Various…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453557 By Various. By George Gershwin. Arranged by John Hoesly. Jazz,Pop,Standards. 68 pages. PRS&B #1032781. Published by PRS&B (A0.1453557). Oh, Lady Be Good (aka Lady Be Good)- Arrangement for Little Big Band/ Jazz Ensemble. Difficulty: Intermediate. Oh, Lady Be Good! is a jazz standard composed in 1924. It quickly became a hit and has since been recorded by countless artists in various styles, solidifying its status as a classic of the Great American Songbook. Intermediate. One of Gershwin’s best. Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Various
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John Hoesly
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Lady Be Good, Oh- for little big band
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PRS&B
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SheetMusicPlus
Ode To Billy Joe
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453562 By Bobby G…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1453562 By Bobby Gentry. By Bobbie Gentry. Arranged by John Hoesly. Blues,Jazz,Pop,Rock. 72 pages. PRS&B #1032786. Published by PRS&B (A0.1453562). ODE TO BILLY JOE- Arrangement for Little Big Band/ Jazz Ensemble. Ode to Billie Joe is a haunting and enigmatic folk song written and performed by Bobbie Gentry. Released in 1967, the song quickly became a sensation, topping the charts and earning critical acclaim for its evocative storytelling and haunting melody. This is a Funky version of the 60’s hit. Difficulty: Intermediate. Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00
50.51 €
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Ensemble Jazz
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Bobby Gentry
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John Hoesly
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Ode To Billy Joe
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PRS&B
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SheetMusicPlus
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