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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Vous avez sélectionné:
Tuba - Angels We Have Heard on High
Partitions à imprimer
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On December Five and Twenty
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass quintet - Digital Download SKU: CX.CM1741 Composed by Various. Arranged by Br…
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Brass quintet - Digital Download SKU: CX.CM1741 Composed by Various. Arranged by Brian Joyce. Quintet music. 28 pages. Published by Cimarron Music Press - Digital (CX.CM1741). Medley of: Good King Wenceslas; Angles We Have Heard on High; The Holly and the Ivy; Coventry Carol; God Rest Ye Merry, Gentlemen; All My Heart This Night Rejoices; Fum! Fum! Fum!; How Great Our Joy; Joy to the World.
$17.00
15.61 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Various
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Brian Joyce
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Angles We Have Heard on High
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On December Five and Twenty
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Cimarron Music Press - Digital
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SheetMusicPlus
Saxes We Have Heard on High: Tuba
Tuba (partie séparée)
Arranged by Michael Story. For Concert Band. Instructional. Part. 1 pages. Published by Al…
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Arranged by Michael Story. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.75 €
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Tuba (partie séparée)
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Michael Story
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Saxes We Have Heard on High: Tuba
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Heard the Bells on Christmas Day for brass quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1131483 By The Mast…
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1131483 By The Master's Brass Quintet Series. By Traditional. Arranged by Jeff D. Anderson. Christian,Christmas,Classical,Religious,Sacred. 54 pages. AnderKamp Music #731698. Published by AnderKamp Music (A0.1131483). This relaxed, yet powerful arrangement for brass quintet is from The Master’s Brass Quintet Series Volume 8. This is a series of 5 well known and loved Christmas songs designed for the typical brass quintet: Trumpet 1 & 2, Horn, Trombone and Tuba. Additional substitution parts included in the PDF:Flute (sub for Trumpet 1), Alto Sax (sub for Trumpet 2), Alto Sax (sub for Horn), Trumpet 3 (sub for Horn), Trombone (sub for Horn), Tenor Sax (sub for Trombone), Alto Sax (sub for Trombone), Bass Clarinet (sub for Tuba) and Baritone Sax (sub for Tuba). And because trumpet players often play C Trumpet in brass quintets, we have included C Trumpet parts so the trumpets don’t have to transpose their Bb parts for C Trumpet! Exciting yet playable arrangements for the typical above average high school level musician. As soon as you order, the PDF ‘s of all the sheet music will be available to you to download.
$14.99
13.76 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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The Master's Brass Quintet Series
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Jeff D
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I Heard the Bells on Christmas Day for brass quintet
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AnderKamp Music
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SheetMusicPlus
Ben Hur Chariot Race March
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Ar…
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Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digital #CMS164. Published by Imagine Music - Digital (IZ.CMS164). 9 x 12 in inches.While doing some research on pre-20th Century American composers, I came across the name of Edward Taylor Paull. In all of my years as a flutist, conductor, and now writer, I never heard of Paull before, but I was curious enough to look for any sound files of his music, and came across both live piano performances and piano roll performances of the Ben HurChariot Race March on YouTube.Edward Taylor Paul, known in some circles as The Other March King was born on February 16th, 1858. In Gerrardstown, Virginia, now West Virginia. While not too much is known about his early years, we do know that his adult years were spent as itinerant musician, instrument sales person, selling pianos and organs, composer, as well as publisher.The Civil War era had Patrick Sarsfield Gillmore as the most famous bandleader and composer. As children of this era, John Philip Sousa and Edward Taylor Paull, were destined to follow in Gillmore's footsteps. While Sousa became successful through his work as both conductor and composer, even attaining the moniker of March King, the road to success and fame was more difficult for Paull. We do know, that by 1878, he was the manager of a music store that sold pianos and organs, eventually going bankrupt, and having to be bailed out by his own father. By 1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano. This was to become one of many marches and parlour piano compositions by 'E.T, Paull. He may not have been the most skilled musician of his era, but he was wise enough to realize how popular marches became in 1880's and '90's.Paull's compositions were also associated with beautiful color covers. He was fortunate to live in Richmond, Virginia, and the lithography company of A. Hoen & Company, provided him the highest quality and richly-colored art work for his compositions. This company was unique, in that they used a five- color process, which added depth to the color. Thepopularity of marches, plus the great covers, both contributed to the 60,000 copies that the Ben Hur Chariot Race March sold in its first printing. Not bad, for a first composition.Paull found inspiration for his march from the novel Ben Hur, written and published by General Lew Wallace in 1880. Paull dedicated his composition to Wallace, who sold many copies of his book. Eventually, there was a stage play and three film renditions; one in 1907, 1925, and 1959. Some time in the 1920's, the Sousa Band recorded the Ben Hur Chariot Race March, and of course, the MGM, 1925 film version, helped in a renewed popularity of Paull's composition.Edward Taylor Paull died in 1924, and his wife retained the copyright, until it went into public domain. What remains today are a few music examples in the Library of Congress collection, as well as some 78's and piano rolls. While I did my research on this piece, I tried to find any applicable Sousa manuscripts of a possible arrangement, but I could not findany. I usually write for woodwinds, but in this case, I thought that a brass quintet would sound far better. I also chose a moderate tempo, so as not to lose some of the nuances of the original composition.
$12.00
11.02 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano
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Edward Taylor Paull
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Judith Katz
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one in 1907, 1925, and 1959
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Ben Hur Chariot Race March
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Imagine Music - Digital
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Trompette, Trombone (duo)
Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Compo…
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Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Trompette, Trombone (duo)
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arra…
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
44.03 €
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Orchestre d'harmonie
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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jmsgu3
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SheetMusicPlus
Moro Lasso
Ensemble de cuivres
Brass Ensemble - Digital Download SKU: A0.999423 Composed by Carlo Gesualso. Arrang…
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Brass Ensemble - Digital Download SKU: A0.999423 Composed by Carlo Gesualso. Arranged by Eric Wilson. Concert,Renaissance. Score and parts. 14 pages. Woodrow Edition #5798361. Published by Woodrow Edition (A0.999423). Carlo Gesualdo, Prince of Venosa, Musician and Murderer! That’s not a news headline (though it would be quite a good one) but the title of a book by composer Peter Warlock which I read avidly after first encountering the Italian composer in a lecture at the University of Liverpool in the 1980s. We were studying the Italian madrigal, which was not really my thing until our lecturer threw Moro Lasso into the mix. Its opening chords seemed so incongruous – unlike anything we had heard – and are as striking today as they must have been in 1611 when first published in Gesualdo’s 6th Book of Madrigals.More or less immediately after that lecture I arranged the piece for the Seras Brass Quintet which I had helped form. In those days the brass quintet repertoire was limited, and certainly didn’t include anything by Gesualdo!The arrangement really benefits from a church-like acoustic where you can make the most of the dramatic built-in silences. The tuba part lies quite high and is very playable on a trombone if need be. Even to modern ears there are some strange sounds and I trust that all the ‘wrong’ notes are Gesualdo’s rather than mine – do let me know if you think otherwise!
$9.95
9.14 €
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Ensemble de cuivres
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Carlo Gesualso
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Eric Wilson
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Moro Lasso
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Woodrow Edition
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SheetMusicPlus
Call Me Maybe
Large Ensemble,Mixed Percussion,Strings Bass Drum,Bass Voice,Clarinet,Cymbals,Double Bass,…
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Large Ensemble,Mixed Percussion,Strings Bass Drum,Bass Voice,Clarinet,Cymbals,Double Bass,Drum Set,Drums,Electric Bass Guitar,Electric Guitar,Flute,Hand Percussion,Harp,High Instrument,Horn,Medium Voice,Medium-High Voice,Medium-Low Voice,Oboe,Recorder,Steel Guitar,String Synthesizer,Suspended Cymbal,Treble Clef Instrument,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1204562 By Carly Rae Jepsen. By Carly Rae Jepsen, Joshua Ramsay, and Tavish Crowe. Arranged by Amphibia Cultural Legacy. Broadway,Disco,Musical/Show,New Age,Pop,Rock. Score and parts. 9 pages. Amphibia Cultural Legacy #803024. Published by Amphibia Cultural Legacy (A0.1204562). Call Me Maybe is a fun and catchy song that has played at countless parties since its debut in 2011. But have you ever heard it with additional instruments added? Amphibia Cultural Legacy took the original Carly Rae Jepsen hit and remixed it, adding drums, guitar riffs, and other elements to create an even more upbeat version that is perfect for celebrating.The new version of Call Me Maybe by Amphibia Cultural Legacy features a faster tempo than the original, making it ideal for dancing and getting your guests up. The added instruments give the song a fuller sound that will energize your partygoers from start to finish. This remix will surely be a crowd-pleaser that will keep everyone entertained throughout the night.As the end of the year approaches, many people are already looking forward to their New Year's celebrations. One key element of any successful party is the music, and Call Me Maybe by Amphibia Cultural Legacy is a perfect choice. Carly Rae Jepsen initially wrote this cover remix with additional instruments, but Amphibia's unique sound has given it new life.The song starts with a catchy beat that immediately gets people moving on the dance floor. Adding various instruments, such as trumpets and drums, adds depth to the track and makes it even more exciting. The lyrics also testify to the joyous spirit of New Year's celebrations - Before you came into my life, I missed you so bad - reminding us that we should cherish those we love during this time.
$80.00
73.46 €
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Carly Rae Jepsen
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Amphibia Cultural Legacy
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Call Me Maybe
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Amphibia Cultural Legacy
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SheetMusicPlus
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