Big band (Alto Sax 1 (Flute/Soprano Sax), Alto Sax 2 (Flute/Soprano Sax), Tenor Sax 1 (Flute), Tenor Sax 2 (Flute), Baritone Sax, Trumpet 1-4, Trombone 1-4, Piano, Bass, Drums) - difficult

SKU: M7.SMP-320

Concert Jazz. Composed by Bill Holman. Sheet music. Concert Jazz. Score and parts. Duration 12'. Handelsware #SMP 320. Published by Handelsware (M7.SMP-320).

English.

This amazing work was commissioned by the I.A.J.E, ASCAP and the Dizzy Gillespie Commissions and was premiered at the IAJE Conference in New York City. It is a piece approximately 12 minutes in length, with solos for trombone, baritone saxophone, piano and others. This is Holman's newest work, and it should stand as one of his most interesting, creative and exciting works to date. 5-4-4-3.

Composed by Ralph Vaughan Williams (1872-1958). Arranged by Ralph Sauer. English Impressionism. Solo part and piano accompaniment. Published by Cherry Classics (CY.CC2913).

Composed by Paul Manz (1919-). Arranged by Benjamin M. Culli. For Solo Instrument (Flute, Oboe, Violin, Clarinet, Tenor Saxophone, or Trumpet) and Keyboard (Organ or Piano). 21st Century. Moderately Easy. Published by MorningStar Music Publishers

SATB choir, cantor, assembly, keyboard accompaniment, flute, oboe, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, violin 1, violin 2, cello, percussion, guitar - Early intermediate

SKU: GI.G-10745

Come, Holy Spirit / Ven, Espíritu Santo / Halina, Espiritu. Composed by Peter M. Kolar. Pentecost. Celebration Series. Sacred. Octavo. With guitar chord names. 24 pages. GIA Publications #10745. Published by GIA Publications (GI.G-10745).

English, Filipino, Italian, Latin, Spanish. Text Source: Verses based on the Pentecost Sequence and Laudato Sí

Peter Kolar’s “Veni, Sancte Spiritus” is an exhilarating processional anthem for Pentecost or confirmation liturgies. It features driving orchestral percussion, an exuberant shout chorus, and a recurring woodwind theme inspired by the soundtrack to The Mission. In the spirit of Pentecost, the piece is multilingual and multi-stylistic, with lyrics in English, Spanish, Filipino and Latin. The piece even offers an optional call-and-response refrain for assembles to learn its multilingual text. “Veni, Sancte Spiritus” was composed for and premiered at the National Association of Pastoral Musicians (NPM) 2022 National Convention. Hearts will surely be enflamed with the Spirit upon experiencing this powerful work! .

Edited by Dylan Canterbury. Arranged by Duke Pearson. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-7330).

Composed by Mark Hayes. For 2 trumpets, 2 trombones, alto saxophone, tenor saxophone, rhythm. Sacred Anthem, General, Missions. Instrumental score and parts. Lorenz Publishing Company #30/3183L. Published by Lorenz Publishing Company

(Kleine Credomesse). By Wolfgang Amadeus Mozart (1756-1791). Arranged by Paul Horn. For Soli SATB, SATB Choir, 2 Violins, Basso continuo, [2 Clarinos/Trumpets, 3 Trombones]. This edition: paperbound. KV 192 (186f). Full score available separately - see item CA.4062400. Missa brevis, Latin; Stuttgart Urtext editions. Level 3. Piano/Vocal score. Language: Latin. Composed 1774. 44 pages. Duration 15 min

By Wolfgang Amadeus Mozart (1756-1791). Arranged by Paul Horn. For Soli SATB, SATB Choir, 2 Violins, Viola, Basso continuo, [3 Trombones]. This edition: paperbound. KV 49 (47d). Score available separately - see item CA.4062100. Missa brevis, Latin; Stuttgart Urtext Editions. Level 2. Piano/Vocal score. Language: Latin. Composed 1768. 36 pages. Duration 18 min. Published by Carus Verlag

By Wolfgang Amadeus Mozart (1756-1791). Edited by Bernhard Janz. Arranged by Paul Horn. For Soli SATB, SATB Choir, 2 Violins, Basso continuo, [3 Trombones]. This edition: paperbound. KV 275 (272b). Score available separately - see item CA.4062900. Missa brevis, Latin; Stuttgart Urtext Editions. Level 3. Piano/Vocal score. Language: Latin. Composed 1777. 44 pages. Duration 24 min. Published by Carus Verlag

Klavierauszug nach dem Urtext der Neuen Mozart-Ausgabe. By Wolfgang Amadeus Mozart. Edited by Monika Holl. Arranged by Focke, Martin. For Soprano Solo, Alto Solo, Tenor Solo, Bass Solo, Mixed Choir-SATB, Oboe (2), Bassoon (2), Trumpet. (2) 3 Trombone, Kettledrum, Strings, Organ. Piano Reduction/Vocal Score. KV 337. Duration 22`. Published by Baerenreiter-Ausgaben (German import). (BA4881 90)

Klavierauszug nach der Neuen Mozart-Ausgabe. By Wolfgang Amadeus Mozart. Edited by Walter Senn. Arranged by Focke, Martin. For Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed Choir-SATB, Bassoon, Trombone (3), Strings, Organ. Piano Reduction/Vocal Score. KV 194 (186h). Published by Baerenreiter-Ausgaben (German import). (BA5342 90)

By Mary Mcdonald. For SATB choir and piano (with optional 2 trumpets, 2 trombones, rhythm). General, Missions, Sacred. Sacred Anthem

Trombone & Band

SKU: SU.32040020

For Trombone & Band. Composed by Amy Riebs Mills. Brass, Trombone, Concert Band/Wind Ensemble. Full Score. Subito Music Corporation #32040020. Published by Subito Music Corporation (SU.32040020).

Solo Trombone, Band parts - picc, 2fls, 2 obs, EH, 2bsns, 3 cls, bcl, 2asx, tsx, bsx, 4 hns, 3 tpts, 3 tbns, euph, tba, timp, 3 perc Duration: 17' Composed: 2013 Published by: Amy Mills Music, LLC …the audience loved Red Dragonfly. Definitely a keeper in my repertoire! Dr. James Bicigo, Associate Professor of Trombone, University of Alaska, Anchorage Virtuoso piece, the dramatic first movement opens with a Bold statement followed by the beautiful love theme. It reaches up to the Cry of the Heart, then everything ruptures and crashes. Now the trombonist must rebuild and gain strength through dramatic cadenzas until reaching the recapitulation where the opening Bold melody is transformed into a majestic march in 3/4 time. The love theme returns, and the movement ends in triumph. The second movement is a setting of the famous Japanese folksong, Red Dragonfly. The trombonist and pianist play the lovely song amidst the sound of fluttering wings that appear and disappear like memories of the heart. Thank you to the Nihon Gakugeki Kyoukai Foundation for permission to use the melody in this trombone sonata. A solo glissando opens the third movement in American folk dance style with tongue in cheek and twinkle in both eyes. The subsequent variations include a perfect triple canon, a taste of New Orleans jazz, and a dramatic augmentation which spills into a flashback of the first movement’s love theme. This melts away and we recapture a glimpse of the Red Dragonfly melody, this time growing to the Triumphant restatement of the first movement’s main theme. And finally, the exuberant coda drives to a spectacular ending. Difficulty Level: Trombone 6 (Professional) Band 5 (Advanced) See also Red Dragonfly, Sonata for Trombone and Piano for the version with piano accompaniment. See composer website for audio sample. Performance materials available on rental only:.

Clarinet. Arranged by Various. Book; CD; Instrumental Series; Play-Along. Top Hits Instrumental Solos. Broadway; Movie; TV. 76 pages. Published by Alfred Music (AP.45168).

(Complete Lyrics for 200 Songs) Format: lyric book (contains no music). With lyrics. Broadway. 234 pages. 6x9 inches. Published by Hal Leonard.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

By J. Paul Williams. For Men's Chorus. Bass/Percussion, Tracks, General Use, All Saints Day, Homecomings, Missions, Youth Choirs and Sacred. Sheet Music. Published by Shawnee Press.

By J. Paul Williams. For SATB Choir. Choral, Bass/Percussion, Tracks, General Use, All Saints Day, Homecomings, Missions, Youth Choirs and Sacred. Sheet Music. Published by Shawnee Press.

Big band (Alto Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpet 1-4, Trombone 1-4, Piano, Guitar, Bass, Drums) - advanced to difficult

SKU: M7.SMP-311

Swing. Composed by Bill Holman and Buddy Rich. Sheet music. Swing. Score and parts. Handelsware #SMP 311. Published by Handelsware (M7.SMP-311).

English.

As written for and performed by the Buddy Rich Big Band, here is the long-missing chart that Holman wrote to feature The Great One..... Buddy Rich. It is a terrific, swinging chart with solo space, not only for drums, but also for tenor sax, trumpet and trombone. This is another superb chart by Holman, who has contributed to virtually every big band library on the jazz scene. This is a wonderful piece! 5-4-4-4.

Big band (Alto Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpet 1-4, Trombone 1-3, Bass Trombone, Piano, Guitar, Bass, Drums) - advanced to difficult

SKU: M7.SMP-316

Swing. Composed by Bill Holman and Buddy Rich. Sheet music. Rock/Swing. Score and parts. Handelsware #SMP 316. Published by Handelsware (M7.SMP-316).

English.

As written for and performed by the Buddy Rich Big Band, here is the long-missing chart that Holman wrote to feature Buddy on Drums and Pat LaBarbera on Tenor Sax. What a great chart! It is set in a quasi Rock Feel which shifts to Swing and back again. This is a very high-energy, exciting chart, and Buddy played it all the time! Your band will eat this one up. 5-4-4-3.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.446413400

High Wire Act for Orchestra. Composed by Michael Boyman. Study Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340. Published by Merion Music (PR.446413400).

UPC: 680160667406. 9 x 12 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.44641340L

High Wire Act for Orchestra. Composed by Michael Boyman. Large Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340L. Published by Merion Music (PR.44641340L).

UPC: 680160667413. 11 x 17 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

By L. Randolph Babin. For Voices: SATB, cantor, assembly. Instruments: Brass quartet (2 trumpet in C or B, 2 trombones, or horn in F subst. For Tbn 1) or quintet () (instruments optional). Piano. Chamber Music Sacred. Level: easy. 16 pages. Published by GIA Publications.

By Johann Joseph Fux (1660-1741). Edited by Furlinger, Wolfgang. For SATB Soli, SATB Choir, 2 Violin, Basso Continuo, [2 Trombone]. KV 12. Full score available separately - see item CA.9103500. South German church music of the Baroque. Part: Violoncello/Contrabass. Language: Latin. 8 pages

By Johann Joseph Fux (1660-1741). Edited by Furlinger, Wolfgang. For SATB Soli, SATB Choir, 2 Violin, Basso Continuo, [2 Trombone]. This edition: paperbound. KV 12. South German church music of the Baroque. Score. Language: Latin. 36 pages

By Johann Joseph Fux (1660-1741). Edited by Furlinger, Wolfgang. For SATB Soli, SATB Choir, 2 Violin, Basso Continuo, [2 Trombone]. KV 12. Full score available separately - see item CA.9103500. South German church music of the Baroque. Choral score. Language: Latin. 16 pages

(Mass Of The Mysteries). By Nancy Galbraith (1951-). For SATB Choir (Divisi) and Wind Ensemble Or Organ (SATB Chorus (divisi), Organ or Wind Ensemble (2 flutes (piccolo), 2 oboe, 3 clarinet, bass clarinet, 2 bassoons; 3 trumpets, 4 horn, 2 trombone, bass trombone, tuba; cello, contrabass; harp, piano, organ; 4 percussion)). Choral. Choral Score. Composed 1999. Duration 45'. Published by Subito Music Corporation

By Johann Joseph Fux (1660-1741). Edited by Furlinger, Wolfgang. For SATB Soli, SATB Choir, 2 Violin, Basso Continuo, [2 Trombone]. KV 12. Full score available separately - see item CA.9103500. South German church music of the Baroque. Part: Violins 1-2. Language: Latin. 8 pages