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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CORNET
DEEJAY
DIDGERIDOO
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SAXOPHONE
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TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Seven's The One - Aux Percussion
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CHORALE - CHAN…
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Seven's The One - Aux Percussion
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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
22.08 €
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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
Remote Control: 1st Percussion
Percussion (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0001595_PC1 1st Percussion…
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String Orchestra - Digital Download SKU: AX.00-PC-0001595_PC1 1st Percussion. Composed by Richard Meyer. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001595_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001595_PC1). UPC: 038081328348.But what if you could control the performance of a live orchestra as they're playing with a remote control? That's the idea behind this hilarious new novelty piece. With the click of a switch (or, in this case, the sound of a bell), the orchestra switches from piece to piece in mid-phrase. Listen as Eine Kleine Nachtmusik changes to Beethoven's Seventh to Stars and Stripes Forever and back again! Your audience will love it as they surf from channel to channel, including brief stops at the Opera channel and the Sci-Fi channel! This remote even has a pause button that freezes the orchestra, and a mute button that keeps them playing, but with no sound! Great fun for everyone! (3:00).
$5.99
5.51 €
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Percussion (partie séparée)
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Richard Meyer
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Remote Control: 1st Percussion
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Indonesia National Anthem: Indonesia Raya
Orchestre d'harmonie
Large Ensemble - Level 2 - Digital Download SKU: A0.522144 Composed by Wage Rudolf …
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Large Ensemble - Level 2 - Digital Download SKU: A0.522144 Composed by Wage Rudolf Supratman (1903-1938). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 36 pages. Colin Kirkpatrick Publications #3471763. Published by Colin Kirkpatrick Publications (A0.522144). Colin Kirkpatrick’sNational Anthems ExpressINDONESIA: Indonesia RayaThis quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file.Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band).Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch) flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band).Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn); Part 4 in F (French horn).Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon.Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser in the UK. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$6.99
6.43 €
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Orchestre d'harmonie
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Wage Rudolf Supratman
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Colin Kirkpatrick
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Part 1 in C (oboe, violin)
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Indonesia National Anthem: Indonesia Raya
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Colin Kirkpatrick Publications
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SheetMusicPlus
When the World Drops In to Town
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital…
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Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital Download SKU: A0.1105258 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 233. David Kai #708518. Published by David Kai (A0.1105258). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song features the use of an Ugly Stick, a traditional Newfoundland percussion instrument. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! “Take it all to help the plane people, it’s the least that we can do!†Aunt Winnie baked two dozen of her partridgeberry pies She said, “I think those plane people will be in for some surprise!†So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:.
$1.99
1.83 €
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David Kai
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David Kai
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When the World Drops In to Town
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David Kai
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SheetMusicPlus
Memorial (for Brass Quintet & Percussion)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1158398 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1158398 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic,Patriotic. 18 pages. Https://gildedmusicpress.com/ #758679. Published by https://gildedmusicpress.com/ (A0.1158398). Composed to commemorate the 20th year of the 9-11 terrorist attacks. This somber, gorgeous piece of music draws tears when presented correctly, and is an extraordinarily important contribution to the brass quintet repertoire. The Jewish “feast†(or “appointed timeâ€) of trumpets, as outlined in Leviticus 23:24-25, prescribes the observance: “Speak unto the children of Israel, saying, In the seventh month, in the first day of the month, shall ye have a sabbath, a memorial of blowing of trumpets, an holy convocation. Ye shall do no servile work therein: but ye shall offer an offering made by fire unto the Lord.†According to the Jewish calendar, the feast of trumpets in 2001 coincided exactly with the 9-11 attacks, which could indeed be thought of as “an offering made by fire.†Effectively no servile work was done on that day throughout the attacked nation, and it has indeed become a somber type of “sabbath†to observe every year. It seemed extraordinarily appropriate—perhaps even requisite—that a somber composition with trumpets be composed for the 20th annual observance of the horrific attacks on American soil, as a “Memorial†to those lost that day, and those who since perished in the Global War on Terror. “Where were you when you first heard about the 9-11 attacks?†This common question is posed to those who were of age to comprehend what had happened in 2001. Personally, I had just listened to an emotional rendition of Maurice Ravel’s “Pavane to a Dead Princess.†Elements of that musical memory influenced this present work “Memorial.†Other sources of inspiration—whether intended or subconscious—include Samuel Barber’s heart-wrenching “Adagio for Strings,†Michael Kamen’s “Quintet†for brass, and John Williams’ “Hymn to the Fallen.†The harmonies are thick and often dissonant, including many suspensions. The players get little rest, symbolic of the constant state of alertness of a shocked nation after being so brutally attacked. Perhaps of greatest symbolic import is the fact that there are exactly 911 notes in this composition. Because of this, it is crucial that the percussion part be performed, and that great care be taken by all performers to refrain from altering the notes or rhythms in any way. A comment on the interpretation of notation: all long notes that are tied to a staccato note on the downbeat are to be held to the downbeat and gently released, not held over.
$24.95
22.96 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Memorial
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https://gildedmusicpress.com/
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SheetMusicPlus
Denmark: The Two National Anthems
Orchestre d'harmonie
Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvi…
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Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvig Rogert (1742-1813) and Hans Ernst Krøyer (1798 -1879). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 37 pages. Colin Kirkpatrick Publications #3428555. Published by Colin Kirkpatrick Publications (A0.522130). Denmark has two national anthems. The first, Der er et yndigt land (There is a lovely land) is the civil national anthem and the most frequently performed. When it was first published in 1819, the anthem had twelve verses but today it has been significantly shortened. The dotted rhythm in measure 15 (in Parts 1 and 2) is sometimes played as two equal eighth notes (quavers). The second anthem, Kong Christian stod ved højen mast (King Christian stood by the lofty mast) has equal status but is mainly used for royal and military occasions. At such times, it is either performed alone or the two anthems are played together. Known simply as Kong Christian it is traditionally sung in Denmark immediately after midnight every New Year's Eve. The audio sample contains the first, more popular anthem. These quick and easy national anthem arrangements are essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Note that this anthem is virtually identical to the anthem of Finland. There is a minor difference in part of the melody and the repeat structure is different. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Note the parts in Kong Kristian go a bit too low for flute and oboe, so Parts 1a or 2a should be used instead. Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (flute, oboe, violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.
$8.99
8.27 €
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Orchestre d'harmonie
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Ditlev Ludvig Rogert
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Colin Kirkpatrick
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Denmark: The Two National Anthems
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Colin Kirkpatrick Publications
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SheetMusicPlus
The Magnificent Seven
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1514275 Composed by Elmer Bernste…
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Concert Band - Level 3 - Digital Download SKU: A0.1514275 Composed by Elmer Bernstein. Arranged by Lorenzo Bocci. Film/TV. 119 pages. Lorenzo Bocci #1088751. Published by Lorenzo Bocci (A0.1514275). THE MAGNIFICENT SEVENfor Concert Band - Grade 3 - Digital Download - More Film MusicComposed by Elmer Bernstein. Arranged by Lorenzo Bocci. Film. Concert Band - Blasorchester - Harmonie. Score and parts. Duration 3'37''. Published by Lorenzo Bocci.Instrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Double Bass, Timpani (Tambourine), Mallets Percussion (Xilophone, Glockenspiel), Percussion 1 (Snare Drum, Hi-Hat, Wood Block), Percussion 2 (Cymb. A 2, Bass Drum, Maracas), Piano (does not appear on score)Additional Parts:Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.The Magnificent Seven is a 1960 American Western film directed by John Sturges. The screenplay is a remake – in an Old West-style – of Akira Kurosawa's 1954 Japanese film Seven Samurai. The ensemble cast includes Yul Brynner, Steve McQueen, Charles Bronson, Robert Vaughn, Brad Dexter, James Coburn, and Horst Buchholz. The film has been appraised as one of the greatest films of the Western genre. Elmer Bernstein's film score was nominated for an Academy Award for Best Original Score and is listed on the American Film Institute's list of the top 25 American film scores. In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant.Subscribe to my YouTube Channel to stay updated on new releases.
$89.00
81.91 €
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Orchestre d'harmonie
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Elmer Bernstein
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Lorenzo Bocci
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The Magnificent Seven
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Lorenzo Bocci
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SheetMusicPlus
Game Of Thrones
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1205628 By Various. By Ramin Dj…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1205628 By Various. By Ramin Djawadi. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Instructional,Wedding. Score and Parts. 67 pages. FRC Music #803804. Published by FRC Music (A0.1205628). Ramin Djawadi: Game of Thrones for Choir and Orchestra (FULL SCORE) GAME OF THRONES                Music by RAMIN DJAWADI              Arranged by Flávio Régis Cunha  🎶 Calling all music maestros and orchestral enthusiasts! 🎶 Unleash the power of your instruments with the mesmerizing melodies of Westeros. Introducing the ultimate masterpiece for student, university, and professional orchestras: the sheet music of 'Game of Thrones' composed by the legendary Ramin Djawadi!🌟 Immerse your ensemble in the epic realm of dragons, intrigue, and destiny with this iconic soundtrack. From the thundering rhythm of the main theme to the hauntingly beautiful 'Light of the Seven,' this collection will transport your musicians and audience alike to the Seven Kingdoms.🎻 Elevate your performances to new heights as you recreate the spine-tingling moments of the Iron Throne saga. Whether you're rehearsing in the hallowed halls of academia or showcasing your virtuosity on grand stages, the 'Game of Thrones' sheet music will be your key to musical triumph.🌌 Ignite the passion of your players as they breathe life into each note, each crescendo, and each heart-pounding climax. With meticulously transcribed scores, this sheet music ensures an authentic rendition that captures the essence of the original soundtrack.🎉 Unite your orchestra with the power of unity and harmony that only music can bring. Let the soaring melodies of 'Game of Thrones' be the catalyst for creating unforgettable memories and forging unbreakable bonds among your fellow musicians.📣 Seize this opportunity to make your ensemble a legend in its own right! Order the 'Game of Thrones' sheet music now and embark on a musical odyssey that will resonate through the ages. Winter is here, and it's time to conquer the world of orchestral brilliance. Don't miss your cue! 🚀🎵INSTRUMENTATIONFLUTE 1. 2OBOE 1. 2CLARINET 1. 2. 3. IN BbBASSON 1. 2HORN 1. 2 IN FTRUMPET 1. 2. 3 IN Bb TROMBONE 1. 2BASS TROMBONETUBATIMPANIPERCUSSION 1. 2. 3  (Tenor Drum, Tom-tons, Gran Cassa, Susp.Cymbal)SATB CHOIR  HARPSICHORD (OPTIONAL PIANO)VIOLIN 1VIOLIN 2VIOLAVIOLONCELLODOUBLE BASSAdvanced Intermediate.Format: Concert, 9 x 12 inches.65 pages.
$59.99
55.21 €
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Orchestre
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Various
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Flavio Regis Cunha
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Game Of Thrones
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FRC Music
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SheetMusicPlus
Go West! (Medley): 1st Percussion
Percussion (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016109_PC1 1st Percussion. …
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Full Orchestra - Digital Download SKU: AX.00-PC-0016109_PC1 1st Percussion. Arranged by Ralph Ford. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016109_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016109_PC1). UPC: 654979081388.Ride 'em Cowboy! In 2007 Ennio Morricone was awarded the Lifetime Achievement Award at the Academy Awards. Here's a high-energy medley of western favorites for the intermediate full or string orchestra. Favorite themes included The Magnificent Seven, Hang 'Em High, and The Good, the Bad, and the Ugly. This spirited arrangement will bring the crowd to their feet! (2:50).
$3.00
2.76 €
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Percussion (partie séparée)
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Ralph Ford
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Go West!
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Riu, Riu, Chiu - brass quintet, percussion (bodhran, tambourine)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SK…
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Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.726138 Composed by Mateo Flecha (1481-1553). Arranged by Todd Marchand. Christmas,Latin,Sacred. Score and parts. 34 pages. Con Spirito Music #6565627. Published by Con Spirito Music (A0.726138). Riu, Riu, Chiu is a villancico (carol) attributed to Mateo Flecha the Elder (1481-1553), a Catalonian composer and cathedral music director of the Renaissance era.Flecha (Catalan: Mateu Flexta) was well-known for his ensaladas (literally, salads - works for four or five voices - and villancicos, a type of popular song in the vernacular (common language). Orignally a secular genre, villancicos gained popularity in the second half of the 16th century as a religious song form. Devotional villancicos, which were often intended to teach and reinforce theological principles, became very popular in the 17th century and continued in popularity until the decline of the genre in the 18th-19th centuries.Riu, Riu, Chiu is a lesson in Catholic doctrine on the Immaculate Conception of the Virgin Mary and the Incarnation of Christ the Redeemer. This arrangement presents four of the carol's seven verses as well as the refrain that opens the song and is repeated between verses. With engaging rhythms, clever harmonizations, and lively percussion, this arrangement is an ideal change-of-pace for any Christmas music program and a showcase for your ensemble.©Copyright 2021 Todd Marchand / ConSpiritoMusic. Visit www.conspiritomusic.com
$15.00
13.8 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Mateo Flecha
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Todd Marchand
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Riu, Riu, Chiu - brass quintet, percussion
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Con Spirito Music
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SheetMusicPlus
March of the Shadows
Orchestre d'harmonie
Concert band - Grade 1 - Digital Download SKU: IZ.CBS163-S Composed by Martin J. Wi…
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Concert band - Grade 1 - Digital Download SKU: IZ.CBS163-S Composed by Martin J. Wimmer. Score. 10 pages. Imagine Music - Digital #CBS163-S. Published by Imagine Music - Digital (IZ.CBS163-S). 9 x 12 in inches.March of the Shadows is a Grade 1 1/2 work for second-year elementary band. As a veteran elementary band director,I am keenly aware of what students are able to accomplish at this level. March of the Shadows is a fun, slightlychallenging, and completely achievable work. It is a work that would be useful at the beginning of the school yearwhen it feels too summery to begin holiday music. March of the Shadows would be perfect for a Halloween orAutumn Concert.March of the Shadows begins with a whistle! It calls the show by announcing each new section of the piece. (Astudy of form.) It even reacts to a momentary modulation. The whistle part has all sorts of fun staging potential,including having it played by the director! The initial whistle is followed by a percussion introduction which sets thebeat. Seven percussion parts, three of them optional, have been included so that everyone in a large percussionsection will be kept engaged and out of trouble! The body of the work includes two alternating themes, one dark andshadowy in minor, the other bright, heroic and slightly syncopated in major. Every part gets the melody at somepoint, even the low brass and woodwinds! Ranges are all standard for early second-year band players, i.e. clarinetsdo not go over the break, trumpets do not go higher than middle line B, the snare drum part is sprinkled with basicrudiments such as flams and paradiddles. Even the horn gets a crack at the tune! Every part is fun, interesting andeducational.
$8.00
7.36 €
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Orchestre d'harmonie
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Martin J
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March of the Shadows
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Imagine Music - Digital
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SheetMusicPlus
The Time Machine (Excerpts), an Accompanied Reading
Small Ensemble Cello,Flute,Guitar,Handbell,Multi-Percussion,Piano,Viola,Violin - Level 3 -…
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Small Ensemble Cello,Flute,Guitar,Handbell,Multi-Percussion,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.835782 Composed by Paul Burnell. Contemporary. Score and parts. 88 pages. Paul Burnell #3222659. Published by Paul Burnell (A0.835782). Composed 2017. One of a series of fourteen accompaniments to texts published between the years 1886 and 1899. Duration 30:00 For narrator and ensemble Text from the novella by H.G. Wells (1866 - 1946) published in 1895 The subtitles for each of the six movements are: Part 1 - the Model Part 2 - the Journey Part 3 - the Eloi Part 4 - the Morlocks Part 5 - the Eclipse Part 6 - the Ghost 'The Time Machine' is a science fiction novel by Herbert George Wells, published in 1895. H. G. Wells is commonly credited with the popularisation of the concept of time travel - using a vehicle that allows an operator to travel intentionally and selectively backwards or forwards in time. Ensemble instrumentation: Keyboard(s) - accordion, organ, glass harmonica, vibraphone, piano, toy piano, etc. Flute or tenor/bass recorder Violin or viola or violincello. Wine glass 1 tuned to Bb Wine glass 2 tuned to C - ideally a minor seventh below wine glass 1 Handbells, three players using bows and beaters: Voice or guitar (acoustic, electric or bass guitar) Percussion - Suspended cymbal, low drum(s), whirly tube(s), ‘found’ resonant instruments, plastic bag(s), singing bowl, guiro(s) There is no overall score. Performers (except percussion) play from a series of graphic scores. The percussion parts are written in more traditional notation. It is not necessary for the ensemble to contain all the instruments. If all instruments are available then the ensemble may vary the instrumentation, or omit instruments, for each of the movements, or within movements. The dynamic balance between players should be sympathetic to the forces available. This may mean, for example, that an accordion is muted or sited away from the other players. Effects such as reverberation or distortion may be applied to the instrumental sounds. Variety of expression is encouraged. The narrator’s text readings must each have a duration of under five minutes.For each of the six movements the ensemble begins playing one minute after the speaker. It is allowed for the movements to be performed as single pieces, and without the narration.
$7.95
7.32 €
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Paul Burnell
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The Time Machine
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Paul Burnell
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SheetMusicPlus
It's A Sin
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: A0.1487167 By Pet Shop Boys. By Chris Lowe and Neil Tennant. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Rock. Brass Band. 56 pages. John Ivor Holland #1064138. Published by John Ivor Holland (A0.1487167). It's A Sin is taken from Pet Shop Boys' second studio album, 'Actually', released in June 1987 as the lead single. It became their second number-one in the UK, spending three weeks at the top. Additionally, the single topped the charts in Austria, Denmark, Finland, Germany, Ireland, Norway, Portugal, Spain, Sweden and Switzerland, reaching number nine on the US Billboard Hot 100. In the song, Tennant describes some impressions he took from his time at a Catholic high school in Newcastle upon Tyne. He ended up feeling that everything he had done or was going to do was a sin. Directed by Derek Jarman, the It's A Sin video marked the director's first of several collaborations with the band; it extended the lyrical themes of the song by showing Tennant under arrest by an inquisition with Lowe as his jailer and Ron Moody ('Fagin' in the musical, 'Oliver!') in the role of his judge, interspersed with brief clips of personifications of the seven deadly sins. This arrangement for brass band opens with the fanfare used in the orchestral Overture to the Pet Shop Boys' 'Performance' tour, segueing into the song and featuring, in the middle, a half-time feel, riffing off Tennant's own suggestion that It's A Sin, at its heart, is a heavy metal record. Your players and audience are sure to love this stone-cold pop classic and have fun with the 'thunder' sound effects to ramp up the dramatic effect!
$49.99
46.01 €
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Pet Shop Boys
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John Ivor Holland
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It's A Sin
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John Ivor Holland
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SheetMusicPlus
La Suerte de los Tontos (Fortune of Fools): 2nd Percussion
Percussion (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016179_PC2 2nd Percussion. …
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Full Orchestra - Digital Download SKU: AX.00-PC-0016179_PC2 2nd Percussion. Composed by Johnny Richards. Arranged by John Whitney. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016179_PC2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016179_PC2). UPC: 038081323503.Remember the word fire when preparing this music. It is powerful, dynamic and exciting music with infectious rhythmic feel, emphasized by the rhythm section and the counterpoint. Written for the Stan Kenton Band as one of the seven movements of Cuban Fire Suite, this piece makes Latin jazz perfect for the orchestra! (4:30)Concert/Contest.
$3.00
2.76 €
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Percussion (partie séparée)
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Johnny Richards
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John Whitney
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La Suerte de los Tontos
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
La Suerte de los Tontos (Fortune of Fools): 1st Percussion
Percussion (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016179_PC1 1st Percussion. …
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Full Orchestra - Digital Download SKU: AX.00-PC-0016179_PC1 1st Percussion. Composed by Johnny Richards. Arranged by John Whitney. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016179_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016179_PC1). UPC: 038081323503.Remember the word fire when preparing this music. It is powerful, dynamic and exciting music with infectious rhythmic feel, emphasized by the rhythm section and the counterpoint. Written for the Stan Kenton Band as one of the seven movements of Cuban Fire Suite, this piece makes Latin jazz perfect for the orchestra! (4:30)Concert/Contest.
$3.00
2.76 €
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Percussion (partie séparée)
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Johnny Richards
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John Whitney
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La Suerte de los Tontos
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Estonia National Anthem: Mu Isamaa (My Fatherland)
Orchestre d'harmonie
Large Ensemble - Level 2 - Digital Download SKU: A0.522128 Composed by Fredrik Paci…
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Large Ensemble - Level 2 - Digital Download SKU: A0.522128 Composed by Fredrik Pacius (1809 - 1891). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 35 pages. Colin Kirkpatrick Publications #3382783. Published by Colin Kirkpatrick Publications (A0.522128). Colin Kirkpatrick’s National Anthems Express ESTONIA: Mu Isamaa This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Note that this anthem is virtually identical to the anthem of Finland. There is a minor difference in part of the melody and the repeat structure is different. This arrangement consists of a two-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$4.99
4.59 €
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Orchestre d'harmonie
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Fredrik Pacius
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Colin Kirkpatrick
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Estonia National Anthem: Mu Isamaa
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Colin Kirkpatrick Publications
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SheetMusicPlus
The Bamboula Rhapsodic Dance for 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 5 - Digital Download SKU: A0.1190215 Composed by Samuel Coleridge-Taylor. Arranged by Charles Decker. 20th Century,Contest,Festival,Multicultural,Spiritual,World. Brass Band. 201 pages. Charles Decker Music Press #789828. Published by Charles Decker Music Press (A0.1190215). This brilliant, tour de force arrangement for brass band is guaranteed to inspire performers and excite audiences as it captures the energy of the Samuel Coleridge-Taylor's 1911 orchestral showpiece. Born of an African father, Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. Originating in Africa and developed in Haiti, the Bamboula was danced for festivals and ceremonies. The 11 minute arrangement has an optional cut to make it seven minutes and is scored for British brass band instrumentation of E-flat cornet, B-flat cornets, flugelhorn, E-flat alto horns, baritone horn, euphonium, trombones and E-flat and B-flat basses with parts sets in treble clef except for the bass trombone. Optional brass instrumentaion is provided with substiute F horn parts for the E-flat alto horns and bass clef parts for all the low brass. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!†Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music “I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others For more brass quintet editions by Charles Decker use these links to Kendor Music and Cherry Classics Music for listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.
$39.95
36.77 €
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Samuel Coleridge-Taylor
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Charles Decker
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The Bamboula Rhapsodic Dance for Brass Band
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Charles Decker Music Press
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SheetMusicPlus
Republic of Cuba National Anthem: El Himno de Bayamo
Orchestre d'harmonie
Large Ensemble - Level 3 - Digital Download SKU: A0.522149 Composed by Pedro Figuer…
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Large Ensemble - Level 3 - Digital Download SKU: A0.522149 Composed by Pedro Figueredo (1818-1870). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 38 pages. Colin Kirkpatrick Publications #3507973. Published by Colin Kirkpatrick Publications (A0.522149). REPUBLIC OF CUBA: El Himno de Bayamo This national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. Although it's primarily designed for band, you can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same 38-page PDF file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets (9th above concert pitch); Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below Part 3 in B flat for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, cello, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. Parts 1a and 2a are provided because Parts 1 and 2 are too low to be comfortably played by flute and piccolo. By using these parts you can create a high woodwind tone above the other instruments. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$8.99
8.27 €
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Orchestre d'harmonie
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using these parts you can create a high woodwind tone above the other instruments
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Pedro Figueredo
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Colin Kirkpatrick
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Republic of Cuba National Anthem: El Himno de Bayamo
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Colin Kirkpatrick Publications
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SheetMusicPlus
South Africa National Anthem: Nkosi Sikelel' iAfrika
Orchestre d'harmonie
Large Ensemble - Level 3 - Digital Download SKU: A0.522139 Composed by Enoch Mankay…
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Large Ensemble - Level 3 - Digital Download SKU: A0.522139 Composed by Enoch Mankayi Sontonga (1873-1905) and Marthinus Lourens de Villiers (1885-1977). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 34 pages. Colin Kirkpatrick Publications #3464591. Published by Colin Kirkpatrick Publications (A0.522139). Colin Kirkpatrick’sNational Anthems ExpressSouth Africa: Nkosi Sikelel' iAfrikaThis quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything!The arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. Tacet sections (e.g. a brass or trombone tacet in quiet passages) can be easily created with the aid of a pencil. For example, in the audio sample you’ll hear that the woodwind alone has been given the melody beginning in measure 24. The arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The score and all the parts are contained in the same 34-page pdf file. The following parts appear on separate pages:Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band).Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band).Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn); Part 4 in F (French horn).Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon).Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani and percussion (3 players).The music has been digitally scanned at 1,200 dpi, which can produce professional quality output on standard US-size paper.The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$6.99
6.43 €
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Orchestre d'harmonie
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Enoch Mankayi Sontonga
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Colin Kirkpatrick
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Part 1 in C (oboe, violin)
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South Africa National Anthem: Nkosi Sikelel' iAfrika
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Colin Kirkpatrick Publications
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SheetMusicPlus
Andorra National Anthem: Himne Andorra
Orchestre d'harmonie
Large Ensemble - Level 3 - Digital Download SKU: A0.522106 Composed by Father Enric…
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Large Ensemble - Level 3 - Digital Download SKU: A0.522106 Composed by Father Enric Marfany Bons (1871-1942). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 35 pages. Colin Kirkpatrick Publications #3362511. Published by Colin Kirkpatrick Publications (A0.522106). Colin Kirkpatrick’s National Anthems Express ANDORRA: Himne Andorra This quick and easy national anthem arrangement is essential for travelling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a three-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch) flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies on US letter-size paper. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$5.99
5.51 €
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Orchestre d'harmonie
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Father Enric Marfany Bons
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Colin Kirkpatrick
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Andorra National Anthem: Himne Andorra
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Colin Kirkpatrick Publications
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SheetMusicPlus
God Rest You Merry, Gentlemen (Brass Quartet: 2 Trumpets, Horn in F, Trombone) (Chords, Piano)
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.780519 Co…
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.780519 Composed by Traditional English Carol. Arranged by Cathy Stamegna. Christmas,Contemporary,Praise & Worship,Sacred,Traditional. Score and parts. 12 pages. Cathy Stamegna #4983265. Published by Cathy Stamegna (A0.780519). God Rest You Merry, Gentlemen (Brass Quartet: Two Bb Trumpets, Horn in F, Trombone) (Chords, Piano Acc.) begins with the traditional 4/4 and changes meters to 3/4 and 5/4. Major and minor seventh chords add to the twist of this English carol. Use the chord symbols to add a bass guitar and/or a pitched percussion instrument - a powerful and haunting addition(s) to your performance. Set of Parts. Other vocal and instrumental arrangements available.Â
$8.95
8.24 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Traditional English Carol
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Cathy Stamegna
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God Rest You Merry, Gentlemen
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Cathy Stamegna
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SheetMusicPlus
Lithuania National Anthem: Tautiðka Giesmë
Orchestre d'harmonie
Large Ensemble - Level 2 - Digital Download SKU: A0.522138 Composed by Vincas Kudir…
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Large Ensemble - Level 2 - Digital Download SKU: A0.522138 Composed by Vincas Kudirka (1858-1899). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 34 pages. Colin Kirkpatrick Publications #3462085. Published by Colin Kirkpatrick Publications (A0.522138). Colin Kirkpatrick’sNational Anthems ExpressLITHUANIA: Tautiðka Giesmë This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything!The arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Tacet sections (e.g. a brass or trombone tacet in quiet passages) can be easily created with the aid of a pencil. For example, in the audio sample you’ll hear that the trumpets have been omitted from the first part of the anthem with the exception of the triplet fanfare figures. The arrangement consists of a three-page score with seven instrumental staves and three percussion staves. The score and all the parts are contained in the same 34-page pdf file. The following parts appear on separate pages:Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band).Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (oboe, violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet).Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band).Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn).Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon).Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.The original music files have been converted to pdf files digitally scanned at 1,200 dpi, which can produce professional quality output on standard US-size paper.The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$6.99
6.43 €
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Orchestre d'harmonie
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Vincas Kudirka
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Colin Kirkpatrick
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Lithuania National Anthem: Tautiðka Giesmë
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Colin Kirkpatrick Publications
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SheetMusicPlus
Thailand Royal Anthem: Phleng Sansoen Phra Barami
Large Ensemble - Level 2 - Digital Download SKU: A0.522091 Composed by Pyotr Schuro…
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Large Ensemble - Level 2 - Digital Download SKU: A0.522091 Composed by Pyotr Schurovsky (1850-1908). Arranged by Colin Kirkpatrick. Patriotic. Score and parts. 34 pages. Colin Kirkpatrick Publications #3226137. Published by Colin Kirkpatrick Publications (A0.522091). Colin Kirkpatrick’s National Anthems Express THAILAND: Royal Anthem (Phleng Sansoen Phra Barami) This quick and easy national anthem flexible arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play this arrangement with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of the three page score with seven instrumental staves and three percussion staves. The following 28 parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, piccolo, oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (oboe, violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch) flute, oboe, violin); Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat    (tenor horn, alto sax); Part 3 in F (French horn);  Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies on US letter-size paper. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service.  He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$4.99
4.59 €
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Pyotr Schurovsky
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Colin Kirkpatrick
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Thailand Royal Anthem: Phleng Sansoen Phra Barami
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Colin Kirkpatrick Publications
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SheetMusicPlus
Slovenia National Anthem: Zdravljica
Orchestre d'harmonie
Large Ensemble - Level 3 - Digital Download SKU: A0.522125 Composed by Stanko Premr…
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Large Ensemble - Level 3 - Digital Download SKU: A0.522125 Composed by Stanko Premrl (1880-1965). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 33 pages. Colin Kirkpatrick Publications #3380663. Published by Colin Kirkpatrick Publications (A0.522125). Colin Kirkpatrick’s National Anthems Express Slovenia National Anthem: Zdravljica This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a two-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$4.99
4.59 €
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Orchestre d'harmonie
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Stanko Premrl
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Colin Kirkpatrick
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Slovenia National Anthem: Zdravljica
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Colin Kirkpatrick Publications
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SheetMusicPlus
Hungary National Anthem: Himnusz
Orchestre d'harmonie
Large Ensemble - Level 3 - Digital Download SKU: A0.522126 Composed by Ferenc Erkel…
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Large Ensemble - Level 3 - Digital Download SKU: A0.522126 Composed by Ferenc Erkel (1810-1893). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 34 pages. Colin Kirkpatrick Publications #3381045. Published by Colin Kirkpatrick Publications (A0.522126). Colin Kirkpatrick’s National Anthems Express Hungary National Anthem: Himnusz This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a three-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.
$6.99
6.43 €
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Orchestre d'harmonie
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Ferenc Erkel
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Colin Kirkpatrick
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Hungary National Anthem: Himnusz
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Colin Kirkpatrick Publications
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SheetMusicPlus
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