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Bach-Gounod: Ave Maria, Schwencke version for Trumpet & Piano
Trompette, Piano
Piano,Trumpet - Level 2 - Digital Download SKU: A0.550933 Composed by J. S. Bach - …
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Piano,Trumpet - Level 2 - Digital Download SKU: A0.550933 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and part. 12 pages. Jmsgu3 #4888753. Published by jmsgu3 (A0.550933). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.12 €
#
Trompette, Piano
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwencke version for Trumpet & Piano
#
jmsgu3
#
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
43.84 €
#
Trompette, Trombone (duo)
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
#
jmsgu3
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Trumpet & Piano
Trompette
B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann…
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B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468158. Published by jmsgu3 (A0.549220). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and indeed the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.12 €
#
Trompette
#
Johann Sebastian Bach
#
James M
#
Bach: Bist du bei mir BWV 508 for Trumpet & Piano
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jmsgu3
#
SheetMusicPlus
Bach: Wachet auf for Trumpet & Piano
Trompette
B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549835 Composed by Johann…
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B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549835 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554463. Published by jmsgu3 (A0.549835). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.
$24.95
22.81 €
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Trompette
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Johann Sebastian Bach
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James M
#
#
Bach: Wachet auf for Trumpet & Piano
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Trompette, Trombone (duo)
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Compos…
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.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 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 WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.84 €
#
Trompette, Trombone (duo)
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
#
jmsgu3
#
SheetMusicPlus
15 Lyrical Duets for Trumpets
2 Trompettes (duo)
Trumpet Duet - Intermediate - Digital Download Composed by Giuseppe Concone. Arranged…
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Trumpet Duet - Intermediate - Digital Download Composed by Giuseppe Concone. Arranged by Matthew Mitchell. Romantic Period, Classical Period, Opera. Set of Parts. 27 pages. Published by Cherry Classics Music
The Concone vocalise studies have been used by brass performers for many years now as a way to perfect a beautiful legato, lyrical technique and sound. The 15 Lyrical Duets for Trumpet, beautifully arranged by Matthew Mitchell are easy to easy/intermediate level and are also valuable to more experienced performers to build a singing lyrical sound.<br> <br> Here is what Mr. Mitchell writes about his arrangement:<br> <br> The source material for this collection are Concone’s original studies for high voice. The melodies are presented in the first trumpet part for each duet. The harmonic integrity for these duets has been preserved by using Concone’s original accompaniments as a basis for the second trumpet parts. The second trumpet parts have many similarities to Concone’s original accompaniments in regards to rhythm, melodic ideas and style.<br> <br> The keys, articulations, markings and dynamics for this series of duets mirror those unutilized by J.F. Sawyer in the Brass Press Edition of Concone’s Lyrical Studies for Trumpet. The user is encouraged to experiment with their own articulations, markings and dynamics. The player may also want to take liberties with note lengths at the ends of phrases, often playing notes longer than their printed values, creating a more satisfying musical experience.<br> <br> The 15 Lyrical Duets for Trumpets are great tools for teachers to use in the studio as well.The Concone vocalise studies have been used by brass performers for many years now as a way to perfect a beautiful legato, lyrical technique and sound. The 15 Lyrical Duets for Trumpet, beautifully arranged by Matthew Mitchell are easy to easy/intermediate level and are also valuable to more experienced performers to build a singing lyrical sound.<br> <br> Here is what Mr. Mitchell writes about his arrangement:<br> <br> The source material for this collection are Concone’s original studies for high voice. The melodies are presented in the first trumpet part for each duet. The harmonic integrity for these duets has been preserved by using Concone’s original accompaniments as a basis for the second trumpet parts. The second trumpet parts have many similarities to Concone’s original accompaniments in regards to rhythm, melodic ideas and style.<br> <br> The keys, articulations, markings and dynamics for this series of duets mirror those unutilized by J.F. Sawyer in the Brass Press Edition of Concone’s Lyrical Studies for Trumpet. The user is encouraged to experiment with their own articulations, markings and dynamics. The player may also want to take liberties with note lengths at the ends of phrases, often playing notes longer than their printed values, creating a more satisfying musical experience.<br> <br> The 15 Lyrical Duets for Trumpets are great tools for teachers to use in the studio as well.
$22.50
20.57 €
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2 Trompettes (duo)
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Giuseppe Concone
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Matthew Mitchell
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15 Lyrical Duets for Trumpets
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Cherry Classics Music
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SheetMusicPlus
The Easter Bonnet Bop for Trumpet Duet
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.591402 Composed by David …
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Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.591402 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score. 3 pages. David McKeown #6293695. Published by David McKeown (A0.591402). The Easter Bonnet Bop is a fun and original duet written by David McKeown for two Trumpets. The Easter Bonnet Bop is one in a series of ten Easter-themed duets each written in a different American dance style. The origins of the word Bop lie in the scat language of the ‘40s; Bop quickly became associated with the fast Bebop jazz of the period as musicians vocalised the offbeat rhythms of their angular melodies. Later in the ‘50s when Rockabilly and Rock’n’Roll first appeared, Bop was used to describe both the dance moves and the dance venues themselves. The Easter Bonnet Bop is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Easter Bonnet Bop is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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2 Trompettes (duo)
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David McKeown
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The Easter Bonnet Bop for Trumpet Duet
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David McKeown
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SheetMusicPlus
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Ensemble de Tubas
Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Mil…
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Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.<br> <br> The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.<br> <br> In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.<br> <br> The recording was also issued as a V-Disc, No. 39A, in November 1943.<br> <br> The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".<br> <br> The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".<br> <br> "Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.<br> <br> A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.<br> <br> "Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.<br> <br> Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).<br> <br> "Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.<br> <br> Wartime release:<br> <br> The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comMoonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.<br> <br> The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.<br> <br> In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.<br> <br> The recording was also issued as a V-Disc, No. 39A, in November 1943.<br> <br> The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".<br> <br> The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".<br> <br> "Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.<br> <br> A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.<br> <br> "Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.<br> <br> Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).<br> <br> "Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.<br> <br> Wartime release:<br> <br> The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99
11.88 €
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Ensemble de Tubas
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Glenn Miller
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Keith Terrett
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Moonlight Serenade for Tuba Quintet
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Music for all Occasions
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SheetMusicPlus
The Daffodil Doo-Wop, for Trumpet Duet
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.591123 Composed by David …
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Trumpet Duet Trumpet - Level 3 - Digital Download SKU: A0.591123 Composed by David McKeown. Easter,Folk,Pop,R & B,Rock. Score. 3 pages. David McKeown #6274727. Published by David McKeown (A0.591123). Daffodil Doo-Wop is a fun and original duet written by David McKeown for two Trumpets. Daffodil Doo-Wop is one in a series of ten Easter-themed duets, each written in a different Rock’n’Roll style. Doo-wop reached the height of its popularity in the early ‘60s but its origins were in the African-American vocal harmony groups in East Coast cities in the ‘40s. Doo-Wop was a major influence on the soul and pop music that followed it, with groups such as the Drifters, the Four Seasons and even the Beach Boys adopting the vocal harmonies. Daffodil Doo-Wop is suitable for players at an intermediate level and above. With a playing-time of around two minutes, Daffodil Doo-Wop is a perfect addition to any performance program, formal or informal. Click on the link above to hear a full YouTube performance played on the clarinet version of this duet. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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2 Trompettes (duo)
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David McKeown
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The Daffodil Doo-Wop, for Trumpet Duet
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David McKeown
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SheetMusicPlus
The Easter Bonnet Bop for Trumpet and Trombone Duet
Trompette, Trombone (duo)
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: …
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.591401 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6293693. Published by David McKeown (A0.591401). The Easter Bonnet Bop is a fun and original duet written by David McKeown for one Trumpet and one Trombone. The Easter Bonnet Bop is one in a series of ten Easter-themed duets each written in a different American dance style. The origins of the word Bop lie in the scat language of the ‘40s; Bop quickly became associated with the fast Bebop jazz of the period as musicians vocalised the offbeat rhythms of their angular melodies. Later in the ‘50s when Rockabilly and Rock’n’Roll first appeared, Bop was used to describe both the dance moves and the dance venues themselves. The Easter Bonnet Bop is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Easter Bonnet Bop is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Trombone (duo)
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David McKeown
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The Easter Bonnet Bop for Trumpet and Trombone Duet
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David McKeown
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SheetMusicPlus
The Easter Bonnet Bop for Trumpet and Clarinet Duet
Clarinette, Trompette (duo)
Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: …
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Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: A0.591398 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6293685. Published by David McKeown (A0.591398). The Easter Bonnet Bop is a fun and original duet written by David McKeown for one Trumpet and one Clarinet. The Easter Bonnet Bop is one in a series of ten Easter-themed duets each written in a different American dance style. The origins of the word Bop lie in the scat language of the ‘40s; Bop quickly became associated with the fast Bebop jazz of the period as musicians vocalised the offbeat rhythms of their angular melodies. Later in the ‘50s when Rockabilly and Rock’n’Roll first appeared, Bop was used to describe both the dance moves and the dance venues themselves. The Easter Bonnet Bop is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Easter Bonnet Bop is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Clarinette, Trompette (duo)
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David McKeown
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The Easter Bonnet Bop for Trumpet and Clarinet Duet
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David McKeown
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SheetMusicPlus
The Easter Bonnet Bop for Trumpet and Tenor Saxophone Duet
Trompette, Saxophone (duo)
Instrumental Duet Instrumental Duet,Tenor Saxophone,Trumpet - Level 3 - Digital Download
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Instrumental Duet Instrumental Duet,Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.591400 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6293689. Published by David McKeown (A0.591400). The Easter Bonnet Bop is a fun and original duet written by David McKeown for one Trumpet and one Tenor Saxophone. The Easter Bonnet Bop is one in a series of ten Easter-themed duets each written in a different American dance style. The origins of the word Bop lie in the scat language of the ‘40s; Bop quickly became associated with the fast Bebop jazz of the period as musicians vocalised the offbeat rhythms of their angular melodies. Later in the ‘50s when Rockabilly and Rock’n’Roll first appeared, Bop was used to describe both the dance moves and the dance venues themselves. The Easter Bonnet Bop is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Easter Bonnet Bop is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Saxophone (duo)
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David McKeown
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The Easter Bonnet Bop for Trumpet and Tenor Saxophone Duet
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David McKeown
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SheetMusicPlus
The Easter Bonnet Bop for Trumpet and Alto Saxophone Duet
Trompette, Saxophone (duo)
Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - Digital Download
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Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: A0.591399 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6293687. Published by David McKeown (A0.591399). The Easter Bonnet Bop is a fun and original duet written by David McKeown for one Trumpet and one Alto Saxophone. The Easter Bonnet Bop is one in a series of ten Easter-themed duets each written in a different American dance style. The origins of the word Bop lie in the scat language of the ‘40s; Bop quickly became associated with the fast Bebop jazz of the period as musicians vocalised the offbeat rhythms of their angular melodies. Later in the ‘50s when Rockabilly and Rock’n’Roll first appeared, Bop was used to describe both the dance moves and the dance venues themselves. The Easter Bonnet Bop is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Easter Bonnet Bop is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Saxophone (duo)
#
David McKeown
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The Easter Bonnet Bop for Trumpet and Alto Saxophone Duet
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David McKeown
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SheetMusicPlus
The Daffodil Doo-Wop, for Trumpet and Clarinet Duet
Clarinette, Trompette (duo)
Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: …
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Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: A0.591118 Composed by David McKeown. Easter,Folk,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6274715. Published by David McKeown (A0.591118). Daffodil Doo-Wop is a fun and original duet written by David McKeown for one Trumpet and one Clarinet. Daffodil Doo-Wop is one in a series of ten Easter-themed duets, each written in a different Rock’n’Roll style. Doo-wop reached the height of its popularity in the early ‘60s but its origins were in the African-American vocal harmony groups in East Coast cities in the ‘40s. Doo-Wop was a major influence on the soul and pop music that followed it, with groups such as the Drifters, the Four Seasons and even the Beach Boys adopting the vocal harmonies. Daffodil Doo-Wop is suitable for players at an intermediate level and above. With a playing-time of around two minutes, Daffodil Doo-Wop is a perfect addition to any performance program, formal or informal. Click on the link above to hear a full YouTube performance played on the clarinet version of this duet. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Clarinette, Trompette (duo)
#
David McKeown
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The Daffodil Doo-Wop, for Trumpet and Clarinet Duet
#
David McKeown
#
SheetMusicPlus
The Daffodil Doo-Wop, for Trumpet and Trombone Duet
Trompette, Trombone (duo)
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: …
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.591122 Composed by David McKeown. Easter,Folk,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6274725. Published by David McKeown (A0.591122). Daffodil Doo-Wop is a fun and original duet written by David McKeown for one Trumpet and one Trombone. Daffodil Doo-Wop is one in a series of ten Easter-themed duets, each written in a different Rock’n’Roll style. Doo-wop reached the height of its popularity in the early ‘60s but its origins were in the African-American vocal harmony groups in East Coast cities in the ‘40s. Doo-Wop was a major influence on the soul and pop music that followed it, with groups such as the Drifters, the Four Seasons and even the Beach Boys adopting the vocal harmonies. Daffodil Doo-Wop is suitable for players at an intermediate level and above. With a playing-time of around two minutes, Daffodil Doo-Wop is a perfect addition to any performance program, formal or informal. Click on the link above to hear a full YouTube performance played on the clarinet version of this duet. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Trombone (duo)
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David McKeown
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The Daffodil Doo-Wop, for Trumpet and Trombone Duet
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David McKeown
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SheetMusicPlus
The Daffodil Doo-Wop, for Trumpet and Tenor Saxophone Duet
Trompette, Saxophone (duo)
Instrumental Duet Instrumental Duet,Tenor Saxophone,Trumpet - Level 3 - Digital Download
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Instrumental Duet Instrumental Duet,Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.591121 Composed by David McKeown. Easter,Folk,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6274721. Published by David McKeown (A0.591121). Daffodil Doo-Wop is a fun and original duet written by David McKeown for one Trumpet and one Tenor Saxophone. Daffodil Doo-Wop is one in a series of ten Easter-themed duets, each written in a different Rock’n’Roll style. Doo-wop reached the height of its popularity in the early ‘60s but its origins were in the African-American vocal harmony groups in East Coast cities in the ‘40s. Doo-Wop was a major influence on the soul and pop music that followed it, with groups such as the Drifters, the Four Seasons and even the Beach Boys adopting the vocal harmonies. Daffodil Doo-Wop is suitable for players at an intermediate level and above. With a playing-time of around two minutes, Daffodil Doo-Wop is a perfect addition to any performance program, formal or informal. Click on the link above to hear a full YouTube performance played on the clarinet version of this duet. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Saxophone (duo)
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David McKeown
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The Daffodil Doo-Wop, for Trumpet and Tenor Saxophone Duet
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David McKeown
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SheetMusicPlus
The Daffodil Doo-Wop, for Trumpet and Alto Saxophone Duet
Trompette, Saxophone (duo)
Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - Digital Download
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Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - Digital Download SKU: A0.591120 Composed by David McKeown. Easter,Folk,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6274719. Published by David McKeown (A0.591120). Daffodil Doo-Wop is a fun and original duet written by David McKeown for one Trumpet and one Alto Saxophone. Daffodil Doo-Wop is one in a series of ten Easter-themed duets, each written in a different Rock’n’Roll style. Doo-wop reached the height of its popularity in the early ‘60s but its origins were in the African-American vocal harmony groups in East Coast cities in the ‘40s. Doo-Wop was a major influence on the soul and pop music that followed it, with groups such as the Drifters, the Four Seasons and even the Beach Boys adopting the vocal harmonies. Daffodil Doo-Wop is suitable for players at an intermediate level and above. With a playing-time of around two minutes, Daffodil Doo-Wop is a perfect addition to any performance program, formal or informal. Click on the link above to hear a full YouTube performance played on the clarinet version of this duet. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
2.73 €
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Trompette, Saxophone (duo)
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David McKeown
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The Daffodil Doo-Wop, for Trumpet and Alto Saxophone Duet
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David McKeown
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SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for C Trumpet and piano with chords
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964489 Composed by Jo…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964489 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6330779. Published by Leyandder Trustworthy (A0.964489). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by C Trumpet, along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.56 €
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Piano, Voix et Guitare
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Johann Sebastian Bach
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Leyandder Trustworthy
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JESU, JOY OF MAN'S DESIRING by Bach - easy version for C Trumpet and piano with chords
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Leyandder Trustworthy
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SheetMusicPlus
Centone IV Three Vocal Works for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0…
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.840947 Composed by Hans Leo Hassler. Arranged by Richard Decker. Chamber,Early Music,Multicultural,Renaissance,World. 62 pages. Charles Decker Music Press #447653. Published by Charles Decker Music Press (A0.840947). Hans Leo Hassler (1562-1612) was truly a Renaissance man. Not only was he a noted composer of sacred (Roman Catholic and Protestant) and secular music both instrumental and vocal, but he was also a talented organist, Kappelmeister in various churches and cities, music businessman and additionally involved in the construction and manufacture of mechanical musical instruments. Though spending most of his professional life in German (Augsburg, Nuremburg and Dresden), Hassler studied with Andrea Gabrieli in Venice alongside fellow student Giovanni Gabrieli. These three vocal works highlight his integration of the leading compositional styles of the time including his foray into significant chromaticism in his Ad Dominum, cum tribularer. Brass quintets will find these three vocal transcriptions a welcome addition to the literature and concert repertoire. The arrangement is scored for two B-flat trumpets with optional C trumpet parts, horn in F, trombone and tuba. The recording is of the entire edition.See more than 70 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. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Press with 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. All ensemble publications include recordings of the entire edition.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$18.95
17.32 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Hans Leo Hassler
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Richard Decker
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Centone IV Three Vocal Works for Brass Quintet
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Charles Decker Music Press
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SheetMusicPlus
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 C…
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.84 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 C…
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.84 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Euphonium and piano with chords
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964516 Composed by Jo…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964516 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6331251. Published by Leyandder Trustworthy (A0.964516). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by Euphonium, along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.56 €
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Piano, Voix et Guitare
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Johann Sebastian Bach
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Leyandder Trustworthy
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JESU, JOY OF MAN'S DESIRING by Bach - easy version for Euphonium and piano with chords
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Leyandder Trustworthy
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SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Xylophone and piano with chords
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964501 Composed by Jo…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964501 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6331215. Published by Leyandder Trustworthy (A0.964501). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by Xylophone, along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.56 €
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Piano, Voix et Guitare
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Johann Sebastian Bach
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Leyandder Trustworthy
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JESU, JOY OF MAN'S DESIRING by Bach - easy version for Xylophone and piano with chords
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Leyandder Trustworthy
#
SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Contrabass Trombone and piano with chords
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964494 Composed by Jo…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964494 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6331201. Published by Leyandder Trustworthy (A0.964494). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by Contrabass Trombone, along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.56 €
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Piano, Voix et Guitare
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Johann Sebastian Bach
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Leyandder Trustworthy
#
JESU, JOY OF MAN'S DESIRING by Bach - easy version for Contrabass Trombone and piano with chords
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Leyandder Trustworthy
#
SheetMusicPlus
JESU, JOY OF MAN'S DESIRING by Bach - easy version for A Bass Clarinet and piano with chords
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964475 Composed by Jo…
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Guitar,Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.964475 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Christian,Easter,Sacred,World. Score. 3 pages. Leyandder Trustworthy #6330459. Published by Leyandder Trustworthy (A0.964475). Jesu, Joy of Man's Desiring is a popular piece of choral music. It was composed by Johann Sebastian Bach. It is the 10th movement of the cantata Herz und Mund und Tat und Leben. It was written during Bach's first year in Leipzig, Germany. Bach did not compose the melody. That was written by Johann Schop. Bach only harmonized and orchestrated Schop's melody. A transcription of Jesu was done by English pianist Myra Hess (1890-1965), and was published in 1926 for solo piano.In 1934, Hess' version was adapted for piano duet. British organist Peter Hurford made a transcription of Jesu for organ. Today, Bach's piece is often performed at weddings and funerals. Bach wrote the piece for voices with trumpet, oboes, strings and continuo. Jesu, Joy of Man's Desiring is one of Bach's most enduring pieces of music.The present version is a facilitated reduction of the theme where it is soloed by A Bass Clarinet, along with piano accompaniment with chords that can be performed by the teacher and the ends. Ideal for young music students in the area, if you don't have a teacher to play along, search for item number: S0.1006121, here is an audio playback so you can play and study with ease and fluidity.
$4.99
4.56 €
#
Piano, Voix et Guitare
#
Johann Sebastian Bach
#
Leyandder Trustworthy
#
JESU, JOY OF MAN'S DESIRING by Bach - easy version for A Bass Clarinet and piano with chords
#
Leyandder Trustworthy
#
SheetMusicPlus
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