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54 sheet music found
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51
Grieg: Holberg Suite Op.40 - symphonic wind/bass
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Classical
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Edvard Grieg
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Ray Thompson
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Grieg: Holberg Suite Op.40 - s
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1311675 Composed by Edvard Grieg. Arranged by Ray Thompson. 20th Centur...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1311675 Composed by Edvard Grieg. Arranged by Ray Thompson. 20th Century,Chamber,Romantic Period. 69 pages. RayThompsonMusic #900670. Published by RayThompsonMusic (A0.1311675). Arranged wind dectet/bass (double wind quintet)The Holberg Suite, Op. 40, more properly From Holberg's Time (Norwegian: Fra Holbergs tid, German: Aus Holbergs Zeit), subtitled Suite in olden style (Norwegian: Suite i gammel stil, German: Suite im alten Stil), is a suite of five movements based on eighteenth century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg.It exemplifies nineteenth century music which makes use of musical styles and forms from the preceding century.The movements of the suite are:Praeludium (Allegro vivace)Sarabande (Andante)Gavotte (Allegretto)Air (Andante religioso)Rigaudon (Allegro con brio)The Holberg Suite was originally composed for the piano, but a year later was adapted by Grieg himself for string orchestra. The suite consists of an introduction and a set of dances. It is an early essay in neoclassicism, an attempt to echo as much as was known in Grieg's time of the music of Holberg's era.Although it is not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit. I have reduced the tempi in both the prelude and rigaudon. This makes it more playable as a wind player, but still maintains the musicality of the piece.The prelude is quite a long blow for a wind player, and is quite a challenge.
$19.95
Grieg: Holberg Suite Op.40 Mvt.I Prelude - wind dectet
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Classical
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Edvard Grieg
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Ray Thompson
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Grieg: Holberg Suite Op.40 Mvt
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RayThompsonMusic
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SheetMusicPlus
Level 5 - Digital Download SKU: A0.553692 Composed by Edvard Grieg. Arranged by Ray Thompson. Holiday,Romantic Period,Standards. 18 pages. RayThompsonMus...
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Level 5 - Digital Download SKU: A0.553692 Composed by Edvard Grieg. Arranged by Ray Thompson. Holiday,Romantic Period,Standards. 18 pages. RayThompsonMusic #3507995. Published by RayThompsonMusic (A0.553692). The Holberg Suite, Op. 40, more properly From Holberg's Time (Norwegian: Fra Holbergs tid, German: Aus Holbergs Zeit), subtitled Suite in olden style (Norwegian: Suite i gammel stil, German: Suite im alten Stil), is a suite of five movements based on eighteenth century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg. It exemplifies nineteenth century music which makes use of musical styles and forms from the preceding century. The movements of the suite are: Praeludium (Allegro vivace) ( This one) Sarabande (Andante) Gavotte (Allegretto) Air (Andante religioso) Rigaudon (Allegro con brio) The Holberg Suite was originally composed for the piano, but a year later was adapted by Grieg himself for string orchestra. The suite consists of an introduction and a set of dances. It is an early essay in neoclassicism, an attempt to echo as much as was known in Grieg's time of the music of Holberg's era. Although it is not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit. It is arranged here for double wind quintet, and I have transposed it from the original G to Ab. (Clarinets in Bb) I have simplified the constant semi quaver throughout, so it is less tiring for the wind player.
$7.95
Grieg: Holberg Suite Op.40 Mvt.V Rigaudon - wind dectet
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Classical
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Edvard Grieg
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Ray Thompson
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Grieg: Holberg Suite Op.40 Mvt
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RayThompsonMusic
#
SheetMusicPlus
Level 4 - Digital Download SKU: A0.553691 Composed by Edvard Grieg. Arranged by Ray Thompson. Holiday,Romantic Period. 16 pages. RayThompsonMusic #350797...
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Level 4 - Digital Download SKU: A0.553691 Composed by Edvard Grieg. Arranged by Ray Thompson. Holiday,Romantic Period. 16 pages. RayThompsonMusic #3507971. Published by RayThompsonMusic (A0.553691). The Holberg Suite, Op. 40, more properly From Holberg's Time (Norwegian: Fra Holbergs tid, German: Aus Holbergs Zeit), subtitled Suite in olden style (Norwegian: Suite i gammel stil, German: Suite im alten Stil), is a suite of five movements based on eighteenth century dance forms, written by Edvard Grieg in 1884 to celebrate the 200th anniversary of the birth of Dano-Norwegian humanist playwright Ludvig Holberg.It exemplifies nineteenth century music which makes use of musical styles and forms from the preceding century.The movements of the suite are:Praeludium (Allegro vivace)Sarabande (Andante)Gavotte (Allegretto)Air (Andante religioso)Rigaudon (Allegro con brio) ( This one)The Holberg Suite was originally composed for the piano, but a year later was adapted by Grieg himself for string orchestra. The suite consists of an introduction and a set of dances. It is an early essay in neoclassicism, an attempt to echo as much as was known in Grieg's time of the music of Holberg's era.Although it is not as famous as Grieg's incidental music from Peer Gynt, which is itself usually performed as arranged in a pair of suites, many critics regard the works as of equal merit.It is arranged here for double wind quintet, and I have transposed it from the original G to F to aid the clarinet 1 quaver figure.
$7.95
Echo of Eirene
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Herbert Willi
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Echo of Eirene
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Schott Music - Digital
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SheetMusicPlus
Trumpet (also flugelhorn) - difficult - Digital Download SKU: S9.Q41793 Composed by Herbert Willi. This edition: Sheet music. La Tromba. Downloadable. Du...
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Trumpet (also flugelhorn) - difficult - Digital Download SKU: S9.Q41793 Composed by Herbert Willi. This edition: Sheet music. La Tromba. Downloadable. Duration 6 minutes. Schott Music - Digital #Q41793. Published by Schott Music - Digital (S9.Q41793). This piece was written in the wake of the trumpet concerto 'Eirene'. Both pieces were composed by Willi for the trumpeter Reinhold Friedrich who raves about the concerto: 'There is an inexplicable magic in this magnificent light/space work which gives both the audience and the musicians great inner pleasure.' This magic, however, is created by ascetic rather than romantic and lavish means. Willi composed a series of brief musical actions, tone repetitions and short flitting snatches of melody. Wind players who are familiar with all kinds of playing techniques are given much room for their own artistic interpretation.
$12.99
ECHO ~ TAPS / AMERICA (Duet) - Any two similar treble clef instruments - Intermediate
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Traditional
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Dennis Ruello
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ECHO ~ TAPS / AMERICA
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Chicory Music
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SheetMusicPlus
Clarinet Duet A Clarinet - Level 3 - Digital Download SKU: A0.1419015 By Traditional. By TAPS - Traditional, AMERICA - Thomas Arne. Arranged by Dennis Ru...
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Clarinet Duet A Clarinet - Level 3 - Digital Download SKU: A0.1419015 By Traditional. By TAPS - Traditional, AMERICA - Thomas Arne. Arranged by Dennis Ruello. 19th Century,20th Century,Historic,Patriotic. 2 scores. 1 pages. Chicory Music #1000456. Published by Chicory Music (A0.1419015). ECHO - TAPS / AMERICA (Duet) - Intermediate - Appropriate for Memorial Day, 4th of July, Veterans Day, any patriotic event or military funeral. The first part goes to C above the staff and the second part G above the staff. This peace can be played by any two similar treble clef (winds, brass or strings) instruments. The echo effect of TAPS is best with the most separation between the performers. Example: In church have the 1st part played on the altar and 2nd part played from the choir loft or,in a theater, 1st part on stage with 2nd part played from the balcony etc. Performance time approx: 1:30 minutes.
$3.99
"Joy" for Mixed Wind Octet, Piano and Marimba.
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Dan Cutchen and Dan Cutchen
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"Joy" for Mixed Wind Octet, Pi
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Dan Cutchen Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Horn,Marimba,Piano Accompaniment,Soprano Saxophone,Trombone - Level 3 - Digital Download SKU:...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Horn,Marimba,Piano Accompaniment,Soprano Saxophone,Trombone - Level 3 - Digital Download SKU: A0.844263 Composed by Dan Cutchen and Dan Cutchen. 20th Century,Contemporary,World. Score and parts. 54 pages. Dan Cutchen Music #2920627. Published by Dan Cutchen Music (A0.844263). For 4 to 8 of the following instruments: Flute, Soprano Sax, Bb Clarinet, Alto Sax, French Horn, Trombone, Bassoon, Baritone Saxophone PLUS, Marimba and Piano.https://www.youtube.com/watch?v=Sio4HdW28x4&feature=youtu.beSuggested arrangements of instrumentation (all parts are included in purchase, plus score):1. All 10 parts. 2. Flute, Bb Clarinet, Bassoon, Horn, Marimba, Piano. 3. Soprano Sax, Alto Sax, Bari Sax, Trombone, Marimba, PianoTime: Approximately 6:42The title came from the piece being dedicated to the composer’s wife. This composition reminded the composer of her delightful and kind character and her amazing and creative aptitude for organizing and resolving complicated issues. PianoThe composition process began with the opening piano motif. The harmonic and rhythmic foundation for this work is provided by the piano part. The piano serves a steady percussion with a repeating two-measure pattern of 8th notes. It also provides the harmonic foundation with an evolving arrangement of harmonies, which gradually change as the treble clef and bass clef harmonic progressions continually shift over time. The Wind Instruments This piece is comprised of three sections. Section A and C are similar in structure and harmony. In these two sections, the right hand of the piano part repeats a six-measure pattern composed of three triads: F, Edim and Dm. The left hand outlines a repeating eight-measure pattern of four triads: F, Dm, Cm and Bb. As these patterns repeat, the extra two measures in the bass clef cause the patterns to shift out of phase. This brings about a new set of harmonies for each repetition until the patterns begin again on the F major triad. The wind instruments are employed as a rhythmic and melodic counterpoint to the piano. Individually, and as a unit, they reinforce the harmony and rhythmic figures of the piano through echoing and syncopation. Section B utilizes the harmonic progressions of the other two sections but more notes to the triads to extend the harmony (examples: 9th, 11th and 13th chords.) There is also a clear contrast between the rhythms and harmony of the piano versus the wind instruments. The rhythmic and harmonic flow of this section decelerates until there is a complete stop. Section C begins abruptly with the wind instruments taking over the piano’s opening motif. This last section utilizes the same harmonic and rhythmic patterns as section A but the wind instruments become more active in their melodic and rhythmic counterpoint. The last part of this section is eventually dominated by the saxophone and low brass with a strong reiteration of the opening motif.
$20.00
Bratton: The Teddy Bears’ Picnic - wind dectet
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John W
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Ray Thompson
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Bratton: The Teddy Bears’ Pi
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1192050 Composed by John W. Bratton. Arranged by Ray Thompson. 20th Cen...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1192050 Composed by John W. Bratton. Arranged by Ray Thompson. 20th Century,Children,Comedy. 41 pages. RayThompsonMusic #791552. Published by RayThompsonMusic (A0.1192050). Arranged symphonic wind dectet/bass.The Teddy Bears' Picnic is a song consisting of a melody written in 1907 by American composer John Walter Bratton, and lyrics added in 1932 by Irish songwriter Jimmy Kennedy. It remains popular in the United Kingdom as a children's song, having been recorded by numerous artists over the decades. Kennedy lived at Staplegrove Elm and is buried in Staplegrove Church, in Taunton, Somerset, England. Local folklore has it that the small wooded area between the church and Staplegrove Scout Hut was the inspiration for his lyrics.Bratton composed and personally copyrighted it in 1907, and then assigned the copyright to M. Witmark & Sons, New York City, who published it later that year as The Teddy Bears Picnic: Characteristic Two Step, according to the first page of the published piano score, as well as the orchestral parts Witmark published in an arrangement by Frank Saddler. However, the illustrated sheet music cover gives the title as THE TEDDY BEARS' PICNIC, with apostrophe on BEARS and no genre descriptor. Irish songwriter Jimmy Kennedy wrote the now familiar lyrics for it in 1932.After Bratton wrote The Teddy Bears' Picnic, however, many people felt that the composer plagiarized portions of the melody. Music aficionados pointed out in particular that the refrain echoed the theme from Robert Browne Hall's 1895 Death or Glory March. Nevertheless, charges were not filed and Bratton's song still has the same tune it had in 1907.
$19.95
Christmas Song (I sought him where the marble shone) for wind quartet and piano
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David Warin Solomons
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Christmas Song
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David Warin Solomons
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SheetMusicPlus
Bassoon,Clarinet,Flute,Oboe,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1486154 Composed by David Warin Solomons. Christmas,Classical,Contem...
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Bassoon,Clarinet,Flute,Oboe,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1486154 Composed by David Warin Solomons. Christmas,Classical,Contemporary,Religious. 23 pages. David Warin Solomons #1063211. Published by David Warin Solomons (A0.1486154). Instrumental arrangement of my setting of Christmas song - being a meditation on finding the Christ child within oneself - the poem is by Audrey Vaughan. I sought him where the marble shoneand rang with singing echoesto the hurrying prelates' feetand found him notI sought him where the golden glowand painted heav'n-eyed saints adorn the sleeping altarsand found him notI sought him where all nature's beauty burnedwith autumn leaves afirewith death against the long blue skyand found him not I sought him down the stone sett streets dull beneath the misty rain which closed the surrounding hillsand found him notI sought him in the eyes of strangersbright with giving thoughtsand in the hearts of friendsbut found him notI sought himhim whom I lovedin ev'ry thing I lovedin my own heart's lovingbut this night I found him notbut still I sought himthis gurgling boy of joy, but where?the dark sky all above and round melike a suffocating empty cloaktook time awaymy thoughts awaymy search awayand the peace of emptiness of selfopened the low brown doorand there his newness tiny laydeep in the shriven hollow of my heart, cradled thereI found him©Audrey VaughanThe audio preview is an mp3 of the first couple of minutes - a full version will be available later.The pdf contains score and parts.
$11.00
The Window - Original Song Setting of Walter de la Mare's Poetry for VOICE and GUITAR: Key Bbm
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Dennis McCorkle, Adele Paxton
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The Window - Original Song Set
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Voice - Level 3 - Digital Download SKU: A0.784924 Composed by Dennis McCorkle, Adele Paxton. Children,Contempo...
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Instrumental Duet Guitar,Instrumental Duet,Voice - Level 3 - Digital Download SKU: A0.784924 Composed by Dennis McCorkle, Adele Paxton. Children,Contemporary,Folk,New Age. Score and parts. 8 pages. DF McCorkle Music and eBook Publications #6112315. Published by DF McCorkle Music and eBook Publications (A0.784924). Key: Bbm, Range: F3 to Db5 The songs from The Walter de la Mare Songbook resulted from an invitation to perform at the first ever conference, Reading Walter de la Mare at Cambridge University, England, 2018. Composing 10 original songs, Adèle Paxton (Classical Soprano) and Dennis McCorkle (Jazz Guitarist) teamed up as the duo Mackie and Me to present their unique sound and song settings of the English poet. Audience comments: Brilliant and creative music… The depth of the poetry came right through… Blown away by the setting and musicality… Echoes of Lorenz Hart and Stephen Sondheim in the brilliant renderings… All poetry of Walter de la Mare has been licensed worldwide by The Literary Trustees of Walter de la Mare and the Society of Authors as their Representatives. Additional titles available: Lucy’s Shoe (or ‘The Lost Shoe’), A Song of Enchantment, The Window, Grill Me Some Bones (or ‘At the Keyhole’), The Song of Shadows, Dust to Dust, Slim Sophia (or ‘Reverie’), Silver, The Bees’ Song, The Listeners The Walter de la Mare Songbook Audio tracks and Ready-to-Sing performance ready backing tracks are available form SheetMusicPlus (see individual titles), Amazon Music, and Apple Music Contact Information: DennisMcCorkle.com
$7.95
Echoes from the Theatre
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Robert Schumann
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Lyndell Leatherman
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Echoes from the Theatre
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Leatherman Music Services
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SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.829348 Composed by Robert Schumann. Arranged by Lyndell Leatherman. Romantic Period,Standards. 15 ...
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.829348 Composed by Robert Schumann. Arranged by Lyndell Leatherman. Romantic Period,Standards. 15 pages. Leatherman Music Services #5799841. Published by Leatherman Music Services (A0.829348). This short energetic piece for woodwind ensemble (1:20 in duration) is a transcription of Robert Schumann's piano work Echoes from the Theatre from his Album for the Young...suitable for high school and college groups. Here's a quick link to learn more (or be reminded) about Schumann: https://en.wikipedia.org/wiki/Robert_Schumann
$14.99
Shadows and Echoes of Summer - Score Only
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Contemporary
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John Carbon
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Shadows and Echoes of Summer -
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John Carbon
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SheetMusicPlus
Large Ensemble - Level 5 - Digital Download SKU: A0.997928 Composed by John Carbon. 20th Century,Classical,Contemporary. Score and parts. 44 pages. John ...
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Large Ensemble - Level 5 - Digital Download SKU: A0.997928 Composed by John Carbon. 20th Century,Classical,Contemporary. Score and parts. 44 pages. John Carbon #603626. Published by John Carbon (A0.997928). Composed in 1990, revised 2022, Shadows and Echoes of Summer is a 15-minute serenade for harp solo, double woodwind quintet, brass quartet and double bass. This lush, atmospheric work features optional offstage playing and some players double on tuned crystal glasses, crotales and bells.
$20.00
Shadows and Echoes of Summer
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Contemporary
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John Carbon
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Shadows and Echoes of Summer
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John Carbon
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SheetMusicPlus
Large Ensemble B-Flat Clarinet,B-Flat Trumpet,Bass Trombone,Bassoon,Double Bass,Flute,Harp,Horn,Oboe,Tenor Trombone - Level 5 - Digital Download SKU: A0.9979...
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Large Ensemble B-Flat Clarinet,B-Flat Trumpet,Bass Trombone,Bassoon,Double Bass,Flute,Harp,Horn,Oboe,Tenor Trombone - Level 5 - Digital Download SKU: A0.997927 Composed by John Carbon. 20th Century,Classical,Contemporary. Score and parts. 140 pages. John Carbon #603624. Published by John Carbon (A0.997927). Score and complete set of parts for Shadows and Echoes of Summer (1900, rev. 2022) by John Carbon for Harp solo, Double Woodwind Quintet, Brass Quartet and Double Bass. Duration 15 minutes. Lush, atmospheric score features optional offstage playing and some players double on tuned crystal glasses, crotales and bells.
$35.00
Echoes of Shakespeare
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Kenton Brigden
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Echoes of Shakespeare
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K Brigden
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Harpsichord,High Voice,Viola,Violin - Level 2 - Digital Download SKU: A0.980241 Composed by Kenton Brigden. Baroque,Clas...
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Large Ensemble Cello,Double Bass,Harpsichord,High Voice,Viola,Violin - Level 2 - Digital Download SKU: A0.980241 Composed by Kenton Brigden. Baroque,Classical,Contemporary,Renaissance. Score and parts. 41 pages. K Brigden #3466638. Published by K Brigden (A0.980241). A composition for a theatre production with words from Shakespeare in the baroque style. Orchestration can be for strings or woodwind - great for school concerts. Set of Parts are included. Harpsichord or organ should use Full score for continuo part.
$6.99
Chorale Prelude
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Keiron Anderson
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Chorale Prelude
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Forton Music - Digital
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SheetMusicPlus
Brass Band - Intermediate - Digital Download SKU: F2.FM508 Composed by Keiron Anderson. Brass Band. Score and Parts. 68 pages. Forton Music - Digital #FM...
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Brass Band - Intermediate - Digital Download SKU: F2.FM508 Composed by Keiron Anderson. Brass Band. Score and Parts. 68 pages. Forton Music - Digital #FM508. Published by Forton Music - Digital (F2.FM508). ISBN 9790570484072.This stately work is very loosely based on the opening chords from 'The Lamb', although there are no direct quotations from that work. The opening chorale is played as gradually more themes are added above in a dignified and legato subject where instruments sustain notes to give a lingering echo effect. Players need to be aware of their role in this to maximise the effect. The second subject increases the intensity until the time signature change introduces a second chorale. Then, a short imitative passage leads to a rising appogiatura theme and the climax of the work, which re-introduces the original chorale in a major tonality. With versions for brass ensemble, brass band, wind orchestra and woodwind orchestra, this work has been placed in concerts when a meaningful, reflective moment is required.
$40.95
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCA...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather 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 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 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 – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
The Cross Kirk and the lang walk
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Graham Hamilton
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The Cross Kirk and the lang wa
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Hambone Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1438467 By Graham Hamilton. By Graham Hamilton. Classical,Contemporary,Contest,Festival,Historic,Medieval. Brass Band. 83 pages. Hambone Music #1018484. Published by Hambone Music (A0.1438467). A beautiful slow melody in 4/4 followed by a rousing 6/4 trek with fanfares then returning to the slow melody in 4/4. Not overly difficult but players should be around Grade 5 (ABRSM) and bands of around 2nd to 3rd section, although still possible with 4th section bands. Inspired by an old ruined church in my town called the 'Cross Kirk' during the times of the Cromwellian invasion of Scotland.Part 1 It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery. Part 2 It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme. Part 3 The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights. The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination. Part 4 The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters . As he closes his eyes, his mind returns to the knights and a smile crosses his face as he gently drifts off to sleep, as the final bell of the day tolls.
$40.00
Bariroots
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Reggae
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Thomas PECHOT
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Percussion)
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Bariroots
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Thomas PECHOT
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1262844 Compose...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1262844 Composed by Thomas PECHOT. Reggae. 33 pages. Thomas PECHOT #855852. Published by Thomas PECHOT (A0.1262844). Saxophone Ensemble 5-parts (+opt. E. Guitar, Piano, String Bass & Percussion).(additional parts: Bb Soprano sax. & Bb Bass sax.)Bariroots is a reggae piece for saxophone ensemble and rhythm section composed in 2013 by Thomas Pechot for the Week-end Sax' en Gaume workshop (Belgium).More saxophone ensemble PDF sheet music go to https://thomaspechot.com
$19.90
Pastorale
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Charles Wesley and William H M
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Charles Wesley and William H M
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Pastorale
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Chorister's Guild - Digital
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SheetMusicPlus
3 or 4 octaves handbells - Level 3 - Digital Download SKU: C7.CGB295 Composed by Charles Wesley and William H Mathis. Arranged by Charles Wesley and Will...
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3 or 4 octaves handbells - Level 3 - Digital Download SKU: C7.CGB295 Composed by Charles Wesley and William H Mathis. Arranged by Charles Wesley and William H Mathis. General. Score. 8 pages. Chorister's Guild - Digital #CGB295. Published by Chorister's Guild - Digital (C7.CGB295). UPC: 749193007976.This setting of the traditional French melody PICARDY is especially suitable for times of prayer and contemplation in the worship service. This arrangement utilizes gentle modal harmonies and counter-melodies that complement the solo line in three stanzas. The final stanza uses mallet techniques, both on and off the table, and the echo ring. The piece is quite effective with the hammered dulcimer as the solo instrument, but any wind or stringed instrument may be used. If desired, handchimes (played by a solo ringer or a group of extra ringers) may substitute for the solo instrument.
$4.50
Byblos
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Rock
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Chicago
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Patrick Sheehan
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Byblos
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747906 By Chicago. By Terry Kath. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 117 pages. ...
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Small Ensemble - Level 5 - Digital Download SKU: A0.747906 By Chicago. By Terry Kath. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 117 pages. Patrick Sheehan #4968701. Published by Patrick Sheehan (A0.747906). INSTRUMENTATION: Lead Vocal, Lead Vocal Echo, Background Vocal I, Background Vocal II, Background Vocal III, Keyboard I (Grand Piano), Keyboard II (Fender Rhodes), Keyboard III (Moog Ocarina), Keyboard IV (Moog Strings), Electric Guitar, Acoustic 12-String Guitar (rhythm), Bass, Conga Drums, Maracas, Guiro, Drumset. Full score for rock band and set of parts included. All parts transcribed by ear from the original recording from Chicago VII released in 1974. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00
Loser With A Broken Heart
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Rock
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Chicago
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Patrick Sheehan
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Loser With A Broken Heart
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747965 By Chicago. By Peter Cetera. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 79 pages....
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Small Ensemble - Level 5 - Digital Download SKU: A0.747965 By Chicago. By Peter Cetera. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 79 pages. Patrick Sheehan #4984799. Published by Patrick Sheehan (A0.747965). INSTRUMENTATION: Lead Vocal, Background Vocal I, Background Vocal II, Lead Vocal Echo, Grand Piano, Hammond B3 Organ, Electric Guitar I (solo), Electric Guitar II (rhythm), Bass, Tambourine, Drumset. All parts transcribed by ear from the original recording from CHICAGO 13, released in 1979. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00
Life Is What Is
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Contemporary
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Laudir Soares De Oliveira and
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Patrick Sheehan
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Life Is What Is
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747964 Composed by Laudir Soares De Oliveira and Marcos Kostenbader Valle. Arranged by Patrick Sheeha...
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Small Ensemble - Level 5 - Digital Download SKU: A0.747964 Composed by Laudir Soares De Oliveira and Marcos Kostenbader Valle. Arranged by Patrick Sheehan. Contemporary. Score and parts. 110 pages. Patrick Sheehan #4985087. Published by Patrick Sheehan (A0.747964). INSTRUMENTATION: Lead Vocal, Lead Vocal Echo, Background Vocal I, Background Vocal II, Background Vocal III, Tenor Saxophone (Bb), Flugelhorn (Bb), Trombone (+ overdub), Trombone (solo), Clavinet, Acoustic Guitar, Bass, Cabasa, Temple Blocks, Sleigh Bells, Tambourine, Bongo Drums, Conga Drums, Drumset. All parts transcribed by ear from the original recording from CHICAGO 13, released in 1979. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00
Sonny Think Twice
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Rock
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Chicago
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Patrick Sheehan
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Sonny Think Twice
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747995 By Chicago. By Bill Champlin and Daniel Seraphine. Arranged by Patrick Sheehan. Pop,Rock. Scor...
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Small Ensemble - Level 5 - Digital Download SKU: A0.747995 By Chicago. By Bill Champlin and Daniel Seraphine. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 83 pages. Patrick Sheehan #5009211. Published by Patrick Sheehan (A0.747995). INSTRUMENTATION: Lead Vocal, Lead Vocal Echo, Background Vocal I, Background Vocal II, Background Vocal III, Flute, Tenor Saxophone (Bb), Trumpet (Bb), Flugelhorn (Bb), Trombone, Keyboard I, Keyboard II, Keyboard III, Electric Guitar, Bass, Drumset. All parts transcribed by ear from the original recording from CHICAGO 16, released in 1982. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00
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