OTHER INSTRUMENTS Sheet Music to download and print

OTHER INSTRUMENTS
TRUMPET

Another Six Christmas Duets for Trumpets 2 Trumpets (duet)

Composed by Various. Arranged by Kenneth Baird. Christian, Christmas, Standards. Score…(+)

Composed by Various. Arranged by Kenneth Baird. Christian, Christmas, Standards. Score. 12 pages. Kenneth Baird Music #3860691. Published by Kenneth Baird Music
Another Six Duets on Traditional Christmas Carols for advanced-intermediate and advanced trumpet players by the same arranger who brought you 12 Christmas Duets and Five More Christmas Duets. More than a simple harmonized rendering of the melody, these arrangements are suitable for a variety of performance venues from informal Christmas gatherings to church services, and are also a joy to use for sight-reading in December private lessons. Included are: Carol of the Bells, Ding Dong! Merrily on High, Go Tell It on the Mountain, We Three Kings, It Came Upon a Midnight Clear, and In Dulci Jubilo (Good Christian Men Rejoice). Most are set in their traditional styles, while Go Tell It on the Mountain is set in an authentic jazz style. These are similar in style and complexity to the earlier Christmas duets by this same arranger. Note: These arrangements for trumpets are NOT compatible with this arranger\'s editions for other instruments. This collection and this arranger\'s earlier collection, Five More Christmas Duets, may be purchased together in the collection titled Christmas Duets, Volume 2, for Trumpets.
$7.95 7.44 € #2 Trumpets (duet) #Various #Another Six Christmas Duets for Trumpets #Kenneth Baird Music #SheetMusicPlus

Bach Little Fugue in G Minor for Brass Quintet BWV 578 Brass Quintet: 2 trumpets, horn, trombone, tuba

Brass Ensemble - Level 5 - Digital Download SKU: A0.796864 Composed by Johann Sebas…(+)

Brass Ensemble - Level 5 - Digital Download SKU: A0.796864 Composed by Johann Sebastian Bach. Arranged by Stephanie Daige. Baroque. Score and parts. 29 pages. Stephanie Daige #3368125. Published by Stephanie Daige (A0.796864). This little fugue is one of Bach's most famous and beloved keyboard works. Re-imagined for brass quintet, it is a challenging and fun setting for this fugue. The five instruments take turns entering with the subject of the fugue, and interplay back and forth with the other instruments. The timbres of the different instruments add a whole new textural dimension to this already fascinating work by J.S. Bach. I considered the need to breathe for each of these brass instruments, which obviously wasnâ€™t an issue in the original version intended for organ. This piece would be appropriate for advanced high school students, college students,or professionals. It would do well in a chamber music concert, a church, or between acts of a larger ensemble concert,perhaps in another location of the auditorium while a (quiet!) set change is taking place. It would also work well as prelude or lobby music. The duration is just over three minutes (or longer if you prefer to take it slower). Each measure is numbered individually for convenience during rehearsals. I hope you will enjoy performing this piece as much as I have enjoyed arranging it! There is also a version of this piece available for woodwind quintet. Please check out my other arrangements at:http://www.sheetmusicplus.com/publishers/stephanie-daige/6875
$9.99 9.35 € #Brass Quintet: 2 trumpets, horn, trombone, tuba #Johann Sebastian Bach #Bach Little Fugue in G Minor for Brass Quintet BWV 578 #Stephanie Daige #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of â€˜pastoralâ€™ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, weâ€™re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans â€“ or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas â€“ particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than Â¾ so that it can be more languid. All the melodies are â€˜studiedâ€™ and â€˜formalâ€™ with long, languid notes and rhythms which donâ€™t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, thereâ€™s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they werenâ€™t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little â€“ but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.