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ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
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BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
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SYNTHE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
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CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
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JEUX VIDEOS
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MEDIEVAL - RENAISSAN…
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PIANO & CLAVIERS
Piano Quatuor: piano, violon, alto, violoncelle
52
Piano seul
31
Piano Trio: piano, violon, violoncelle
28
Orgue
23
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Piano Facile
4
Instrumentations suivantes
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GUITARES
Piano, Guitare (duo)
7
Guitare notes et tablatures
2
Guitare
2
Basse electrique
1
Ligne De Mélodie, (Paroles) et Accords
1
VOIX
Chorale SATB
6
Chorale 2 parties
1
VENTS
Flûte traversière et Piano
297
Clarinette et Piano
189
2 Saxophones (duo)
186
Hautbois, Piano (duo)
183
Saxophone Alto et Piano
157
Saxophone Soprano et Piano
147
2 Flûtes traversières (duo)
145
Saxophone Tenor et Piano
145
Saxophone Baryton, Piano
143
2 Clarinettes (duo)
117
Clarinette Basse, Piano
117
Cor anglais, Piano
99
Clarinette
88
2 Hautbois (duo)
58
Quatuor de Saxophones: 4 saxophones
35
3 Clarinettes (trio)
26
3 Saxophones (trio)
20
Ensemble de Flûtes
15
2 Cors Anglais Et Pianoforte
14
Trio de Flûtes: 3 flûtes
14
Hautbois, Basson (duo)
13
Flûte, Violoncelle
12
Clarinette, Violoncelle (duo)
12
Piccolo, Piano
12
Quatuor de Clarinettes: 4 clarinettes
9
Clarinette, Harpe (duo)
8
Hautbois, Harpe
8
Ensemble de Clarinettes
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Quatuor de Flûtes : 4 flûtes
6
Hautbois, Violoncelle
6
Flûte, Alto (duo)
4
Flûte, Hautbois (duo)
4
Flûte traversière
4
Flûte, Clarinette (duo)
3
Saxophone et violoncelle
3
Flûte à bec Alto, Piano
3
Flûte, Hautbois, Clarinette, Basson
3
Ensemble de saxophones
3
Flûte à Bec, Piano
3
Saxophone et Harpe
2
Saxophone, Basson (duo)
2
Saxophone Alto
2
Flûte, Violon et Violoncelle
2
Clarinette Basse
2
Flûte, Violon
2
Saxophone Baryton
2
Cor anglais et Harpe (duo)
2
Saxophone Tenor
1
Saxophone et Piano
1
2 Hautbois, Piano
1
Flûte à bec Soprano, Piano
1
Hautbois
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Basson et Piano
1
Hautbois et alto (duo)
1
Saxophone Soprano
1
Flûte, Violoncelle, Piano (trio)
1
Clarinette, Basson (duo)
1
Flûte, Clarinette, Piano (trio)
1
2 Hautbois et Basson
1
Clarinette, Violon (duo)
1
Flûte et Trio à cordes
1
2 Flûtes traversières, Piano
1
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CUIVRES
Euphonium, Piano (duo)
135
Cor et Piano
115
Trombone et Piano
115
Cor anglais, Piano
99
Trompette, Piano
83
2 Cors (duo)
60
Tuba et Piano
56
Trompette
44
2 Trombones (duo)
41
2 Euphoniums (duo)
36
2 Trompettes (duo)
36
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
2 Tubas (duo)
15
2 Cors Anglais Et Pianoforte
14
Cor, Violoncelle (duo)
5
3 Trombones (trio)
5
Trio de Cuivres
5
Trompette, Trombone (duo)
5
Cor
5
Euphonium, Tuba (duo)
4
Ensemble de Trombones
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Tuba et Orgue
3
Quatuor de cuivres: 4 trombones
3
Euphonium
2
Trombone basse et Piano
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Tuba
2
Cor anglais et Harpe (duo)
2
Trombone, Tuba (duo)
2
Trombone basse
1
3 Cors (trio)
1
Quatuor de cuivres: 4 cors
1
Trompette, Tuba (duo)
1
Trompette, Violoncelle (duo)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
275
Violon et Piano
180
Violoncelle, Piano
163
Alto, Piano
155
Trio à Cordes: violon, alto, violoncelle
96
2 Violoncelles (duo)
66
2 Violons (duo)
62
2 Altos (duo)
61
Violon, Violoncelle (duo)
22
2 Contrebasses (duo)
16
Alto, Violoncelle (duo)
15
Violon, Alto (duo)
14
Harpe, Flûte (duo)
13
Harpe
13
Violoncelle (partie séparée)
12
Harpe, Violon (duo)
8
Violoncelle
8
Violon
7
Trio à cordes
5
4 Violoncelles
4
Trio à Cordes: 3 violoncelles
4
Violoncelle, Contrebasse (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Harpe, Violoncelle (duo)
3
Quatuor à cordes : 4 altos
2
Alto et Harpe
2
Alto seul
2
Ensemble de Violoncelles
2
Contrebasse, Piano (duo)
1
Alto (partie séparée)
1
Violon, Orgue
1
Violoncelle, Orgue
1
Trio à Cordes: 2 violons, alto
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
97
Ensemble de cuivres
23
Orchestre d'harmonie
13
Orchestre de chambre
9
Orchestre
8
Cloches
4
Vibraphone
1
Instrumentations suivantes
Retracter
AUTRES
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Orchestre d'harmonie
Partitions à imprimer
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1
Guthrie: Marcia funebre from Symphony No. 4 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.552644 Composed by James M. Guthr…
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Concert Band - Level 3 - Digital Download SKU: A0.552644 Composed by James M. Guthrie. Concert,Contemporary,Standards. Score and parts. 40 pages. Jmsgu3 #6478599. Published by jmsgu3 (A0.552644). Marcia funebre - Mvt. 2 from Symphony No. 4 for Concert BandDuration: 4:00, Score: 12 pages.in memorial Charles A. Wethington (1934-2020)
$29.95
27.94 €
#
Orchestre d'harmonie
#
James M
#
Guthrie: Marcia funebre from Symphony No. 4 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arra…
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Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 â or was rather the first to indicate them such as in his Sonata Pianâ 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 more 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 which 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 Gabrieliâs later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by 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 â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.74 €
#
Orchestre d'harmonie
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabri…
(+)
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, 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, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics â or was the first to indicate them, such as in his Sonata Pianâ 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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 more than two groups. Because they could be appropriately situated, the instruments 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 and 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. Gabrieliâs later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, 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 â called Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.74 €
#
Orchestre d'harmonie
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
#
jmsgu3
#
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…
(+)
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 â or was rather the first to indicate them such as in his Sonata Pianâ 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 Gabrieliâs 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 â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
44.74 €
#
Orchestre d'harmonie
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Guthrie: Coriolis for Wind Ensemble - Score Only
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.551987 Composed by James M. Guthr…
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Concert Band - Level 4 - Digital Download SKU: A0.551987 Composed by James M. Guthrie. Contemporary,Instructional,Standards. 40 pages. Jmsgu3 #6050299. Published by jmsgu3 (A0.551987). Coriolis for Wind Ensemble. Duration - 10:21. Score - 40 pages. Instrumentation:1 Piccolo2 Flutes2 Oboes2 Bassoons3 Clarinets1 Bass Clarinet2 Alto Sax1 Tenor Sax 1 Bari Sax3 Trumpets 4 Horns 2 Tenor Trombones1 Bass Trombone1 Euphonium 1 Tuba4 TimpaniXylophonePercussion.
$49.95
46.6 €
#
Orchestre d'harmonie
#
James M
#
Guthrie: Coriolis for Wind Ensemble - Score Only
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jmsgu3
#
SheetMusicPlus
Mussorgsky: Night on Bald Mountain for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.549957 Composed by Modest Petrovi…
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Concert Band - Level 3 - Digital Download SKU: A0.549957 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. Halloween,Instructional,Romantic Period,Standards. 234 pages. Jmsgu3 #4348907. Published by jmsgu3 (A0.549957). Scored with optional parts to accommodate most concert bands. 1 Piccolo, 2 Flutes, 2 Oboes, 2 Bb Clarinets, 2 Bass Clarinets, 2 Eb Alto Saxes, 2 Bb Tenor Saxes, 2 Eb Baritone Saxes, 2 Bb Trumpets, 2 F Horns, Trombone/Euphonium/Bassoon 1 & 2 part, 2 Tubas, Mallets: (marimba), Chimes, Percussion 1: snare drum, crash cymbals, suspended cymbal, gong & triangle, Percussion 2: Bass Drum, crash cymbals, gong, Can be performed by a small band with one on a part, no percussion, no piccolo.Mussorgsky's Night on Bald Mountain is significant for several reasons. Composed in 1867, it is a tone poem inspired by the Russian legend of nocturnal revels on St. John's Night, involving a witches' Sabbath on Bald Mountain near Kiev. The piece is known for its high drama, dark textures, and bold harmonies, which Mussorgsky's colleagues considered excitingly expressive and raw. The work was unpublished and unrevised at the time of the composer's death, and his colleagues, including Rimsky-Korsakov, later revised it. The composition remains a powerful representation of Russian folk tradition. It is associated with the pagan festivities of the midsummer Slavic holiday, making it a significant piece in the history of Russian classical music.The legend of the nocturnal revels on St. John's Night in June on a hill called Lysa Hora near Kiev is a prominent Slavic tale that inspired Modest Mussorgsky's Night on Bald Mountain. The legend tells of a demon, Chernobog, who leads the revels until a far-off church bell sounds disperse the Spirits of Darkness. This tale is associated with the pagan festivities of the midsummer Slavic holiday and is a significant part of Russian folklore and culture. Lysa Hora, meaning Bald Mountain or Barren Mountain, is a large wooded hill in the Ukrainian capital Kyiv, near the confluence of the Dnipro and Lybid' rivers, and is the traditional site of the witch gatherings in Slavic folklore. The legend's themes of darkness, supernatural gatherings, and the triumph of light have made it a compelling source of inspiration for various artistic works, including Mussorgsky's musical composition.
$49.95
46.6 €
#
Orchestre d'harmonie
#
Modest Petrovich Mussorgsky
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James M
#
Mussorgsky: Night on Bald Mountain for Concert Band
#
jmsgu3
#
SheetMusicPlus
Guthrie: Marcia funebre and Finale - Allegro spirito from Symphony No. 4 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.552646 Composed by James M. Guthr…
(+)
Concert Band - Level 3 - Digital Download SKU: A0.552646 Composed by James M. Guthrie. Concert,Contemporary,Standards. Score and parts. 101 pages. Jmsgu3 #6488801. Published by jmsgu3 (A0.552646). Marcia funebre (2nd movement) and Finale - Allegro spirito (movement 4) from Symphony No. 4 for Concert BandDuration: 7:37, Score: 32 pagesInstrumentation:1 piccolo, 2 flutes, 1 oboe, 2 clarinets, 1 bass clarinet, 1 cello (or bassoon), 1 alto sax, 1 tenor sax, 1 bari sax, 3 trumpets, 4 horns, 2 tenor trombones doubled by euphoniums and/or baritones, 1 bass trombone, 2 tubas, 4 timpani, percussion: one player: bass drum, snare drum, suspended cymbal.
$49.95
46.6 €
#
Orchestre d'harmonie
#
James M
#
Guthrie: Marcia funebre and Finale - Allegro spirito from Symphony No. 4 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Mouton: Christmas Motet for Concert Band
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.550378 Composed by Jean Mouton. A…
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Concert Band - Level 2 - Digital Download SKU: A0.550378 Composed by Jean Mouton. Arranged by James M. Guthrie. Christmas,Concert,Instructional,Renaissance,Standards. Score and parts. 35 pages. Jmsgu3 #4623399. Published by jmsgu3 (A0.550378). Quadruple canon: Nesciens mater virgo virum. Score: 9 pages. Duration: ca. 3:00. Instrumentation: Flute(s), Oboe(s), English Horn, Bassoon, Clarinet(s) in Bb, Bass Clarinet, Alto Sax, Tenor Sax, Bari Sax, Trumpet in Bb, Horn in F, Tenor Trombone, Bass Trombone, Tuba, Timpani (optional), Glockenspiel (optional), Tubular Bells (optional).
$49.95
46.6 €
#
Orchestre d'harmonie
#
Jean Mouton
#
James M
#
Mouton: Christmas Motet for Concert Band
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jmsgu3
#
SheetMusicPlus
Rachmaninoff: Vocalise for Soprano Voice & Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.552640 Composed by Sergei Rachman…
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Concert Band - Level 3 - Digital Download SKU: A0.552640 Composed by Sergei Rachmaninoff (1873 â1943). Arranged by James M. Guthrie. 20th Century,Romantic Period,Standards,Wedding. 59 pages. Jmsgu3 #6437269. Published by jmsgu3 (A0.552640). Score: 20 pagesDuration: ca. 7:00Instrumentation:Soprano voice3 Flutes3 Clarinets in BbBass ClarinetAlto SaxTenor SaxBassoon or Cello2 Trumpets2 Horns2 Trombones1 Tuba4 TimpaniChimesPercussion (Bass Drum and Suspended cymbal).
$59.95
55.93 €
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Orchestre d'harmonie
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Sergei Rachmaninoff
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James M
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Rachmaninoff: Vocalise for Soprano Voice & Concert Band
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jmsgu3
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SheetMusicPlus
Bridge Over Troubled Water
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.552641 By Simon And Garfunkel. By…
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Concert Band - Level 3 - Digital Download SKU: A0.552641 By Simon And Garfunkel. By Paul Simon. Arranged by James M. Guthrie. Contemporary. Score and parts. 44 pages. Jmsgu3 #6451511. Published by jmsgu3 (A0.552641). Duration: 4'54 Score: 10 pages. Part: 1 or 2 pages.
$99.99
93.29 €
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Orchestre d'harmonie
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Simon And Garfunkel
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James M
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Bridge Over Troubled Water
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jmsgu3
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SheetMusicPlus
Guthrie: Symphony No. 3 for Concert Band
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.552642 Composed by James M. Guthr…
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Concert Band - Level 4 - Digital Download SKU: A0.552642 Composed by James M. Guthrie. 20th Century,Contemporary,Standards. Score and Parts. 206 pages. Jmsgu3 #6459693. Published by jmsgu3 (A0.552642). Symphony in Four Movements1. Allegro con moto2. Adagio mesto3. Scherzino 4. Finale - Allegro
$99.95
93.25 €
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Orchestre d'harmonie
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James M
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Guthrie: Symphony No. 3 for Concert Band
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jmsgu3
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SheetMusicPlus
Guthrie: Symphony No. 4 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.552643 Composed by James M. Guthr…
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Concert Band - Level 3 - Digital Download SKU: A0.552643 Composed by James M. Guthrie. 20th Century,Concert,Contemporary,Standards. Score and parts. 218 pages. Jmsgu3 #6478361. Published by jmsgu3 (A0.552643). Symphony in Four Movements for Concert Band1. Allegro grazioso2. Marcia funebrae in Memoriam Charles A. Wethington3. Rondo4. Finale - Allegro spiritoScore: 103 pages, Duration: ca. 17:00Instrumentation:1 piccolo, 2 flutes, 2 clarinets, 1 bass clarinet, 1 cello (or bassoon), 1 alto sax, 1 tenor sax, 3 trumpets, 4 horns, 2 tenor trombones (& or Euphoniums BC, & or Baritone Horns TC), 1 bass trombone, 2 tubas, 4 timpani, percussion: one player: bass drum snare drum, triangle, suspended cymbal.
$99.95
93.25 €
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Orchestre d'harmonie
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James M
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or Euphoniums BC, &
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Guthrie: Symphony No. 4 for Concert Band
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jmsgu3
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SheetMusicPlus
Saint-Saëns: Danse Macabre for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.549996 Composed by Camille Saint-…
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Concert Band - Level 3 - Digital Download SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pages. Jmsgu3 #4366268. Published by jmsgu3 (A0.549996). Full-length arrangement for Concert Band. Instrumentation: 2 flutes, 1 oboe, 2 Bb clarinets, 1 bass clarinet, 2 alto saxes, 1 tenor sax, 1 baritone sax, 2 Bb trumpets, 2 horns in F, 2 tenor trombones, 1 tuba. Melodic percussion: xylophone (or marimba) chimes (or tubular bells). Percussion 1: snare drum, crash cymbals, gong. Percussion 2: bass drum, crash cymbals, gong.The significance of Saint-Saëns' Danse Macabre lies in its representation of death as the great social equalizer and its association with Halloween and the macabre. Originally an art song for voice and piano, the piece was later expanded and reworked into a tone poem for violin and large orchestra, becoming one of Saint-Saëns' most famous works.Representation of Death: Danse Macabre was inspired by the French legend that Death plays the fiddle at midnight on Halloween, causing the skeletons in the cemetery to crawl out of their graves for a dance party. The theme of death as the great social equalizer, where no one can escape the dance with death, is depicted in the music and has inspired various paintings and art pieces.Composition and Reception: The piece is in the key of G minor and scored for an obbligato violin and an orchestra of various instruments.  When it was first performed in 1875, Danse Macabre received mixed reviews, with some critics expressing anxiety due to its dissonance, use of a xylophone, and hypnotic repetitions. However, it is now considered one of Saint-Saëns' masterpieces and is widely regarded and reproduced in high and popular culture.
$82.95
77.39 €
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Orchestre d'harmonie
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Camille Saint-Saens
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James M
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Saint-Saëns: Danse Macabre for Concert Band
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jmsgu3
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SheetMusicPlus
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