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She's Not There: Low Brass
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. 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 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
43.19 €
#
Giovvanni Gabrieli
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Jeremiah Clarke Suite No. 1 - Brass Band Score and Parts PDF
Small Ensemble Organ - Level 3 - Digital Download SKU: A0.750918 Composed by Jeremi…
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Small Ensemble Organ - Level 3 - Digital Download SKU: A0.750918 Composed by Jeremiah Clarke (1674-1707). Arranged by Brendan Elliget MAGA 537. Baroque,Wedding. Score and parts. 37 pages. BJE Music #4839767. Published by BJE Music (A0.750918). A medley of two of Jeremiah Clarke’s tunes: An English Baroque composer (1674-1707) arranged for Brass Brass and Optional Organ Part (Not on the score). The Introduction of this suite is for two Cornets alone followed a full band restatement. The percussion parts include Timpani and Drum Set. There are also parts for Horns in Eb and F. Very suitable for a Wedding or a Graduation Ceremony or general performance… King William's March was composed in honor of William of Orange who had become King of England following the Glorious Revolution of 1688. Clarke's better known Prince of Denmark's March which follows, honored William's brother-in-law Prince George of Denmark. Trumpet Voluntary - The most celebrated trumpet voluntary is the Prince of Denmark's March, a composition by Jeremiah Clarke written circa. 1700. It is properly a rondo for keyboard and was not originally called a trumpet voluntary. It is very popular as wedding music and was played at the 1981 wedding of Charles, Prince of Wales, and Lady Diana Spencer. [Wikipedia] The MP3 was recorded with NotePerformer 3. (Organ not included in the recording) Grade = 3 Duration = 3:45 mins.
$25.00
22.52 €
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Jeremiah Clarke
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Jeremiah Clarke Suite No. 1 - Brass Band Score and Parts PDF
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BJE Music
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SheetMusicPlus
Scottish National Anthem for Brass Band Quintet
Brass Quintet Baritone Horn TC,Cornet,Euphonium,Flugelhorn,Trombone,Tuba - Level 3 - Digit…
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Brass Quintet Baritone Horn TC,Cornet,Euphonium,Flugelhorn,Trombone,Tuba - Level 3 - Digital Download SKU: A0.1215186 By Keith Terrett. By Williamson. Arranged by Keith Terrett. Patriotic,Praise & Worship,Traditional. 10 pages. Keith Terrett #812052. Published by Keith Terrett (A0.1215186). An arrangement of the Scottish National Anthem for Brass Band Quintet. A constituent nation of the United Kingdom, Scotland lacks an official, legislated national song; in fact there are several songs in use as national songs of Scotland. The one most often considered as the unofficial national anthem (and most often presented as Scotland’s anthem at sporting matches) is Flower of Scotland, written by Roy Williamson in 1965 for the popular folk group The Corries. It was first used in a sporting match in 1974 by the Scottish national rugby team in 1974, sung by the team. When the British God Save the Queen was sung before a rugby match in 1988 to represent Scotland, and was met by derision from the crowd, Flower of Scotland was adopted as Scotland’s pregame anthem. Flower of Scotland, however, has not been adopted in any official basis as the Scottish anthem. Other popular national songs of Scotland have sometimes used as unofficial national anthems, the most common being Scotland the Brave (a traditional melody (sheet music) with lyrics writted by Cliff Hanley in 1950). Scotland the Brave was used as the Scottish anthem at the Commonwealth Games until 2010 (when it was replaced by Flower of Scotland) and is most commonly heard on the bagpipe, the Scottish national instrument. When the Scottish Parliament was opened in 1997, another national song (A Man’s A Man for A’ That by national poet Robert Burns) was used, which isn’t usually presented as a Scottish anthem. The choice of this song may have been to duck the controversy of choosing one of the previously mentioned national songs as an official regional anthem, or by using God Save the Queen (the anthem of the United Kingdom, of which Scotland is a part). For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$8.99
8.1 €
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Keith Terrett
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Scottish National Anthem for Brass Band Quintet
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Keith Terrett
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli 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 – or was 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 particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He 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.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's 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 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. 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. 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.
$47.95
43.19 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.19 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli 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 – or was instead 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 particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He 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.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. 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 sound perfectly in balance in contrast.First WorksFinally, 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 shown by instrumental accompaniment. Gabrieli's 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 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
43.19 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.19 €
#
Giovanni Gabrieli
#
1 Bass Trombone
#
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. 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
43.19 €
#
Giovanni Gabrieli
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It 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, followed by a response from the group on the other. 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. 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. 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, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.19 €
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Giovanni Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
"Air - on the G string" (Bach) - Beautiful EASY version for BRASS QUINTET and PIANO (chord symbols).
Horn,Piano,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1492157 Compo…
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Horn,Piano,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1492157 Composed by Johann Sebastian Bach. Arranged by Iury Cardoso. Baroque,Chamber,Christian,Classical,Wedding. 9 pages. Iury Cardoso #1068829. Published by Iury Cardoso (A0.1492157). Beautiful Easy BRASS QUINTET and PIANO arrangement of the piece: Air (from Orchestral Suite No.3 in D major, BWV 1068) by Johann Sebastian Bach (Score and parts: 9 pages) This arrangement of Bach's Aria transforms the original piece into a version for BRASS QUINTET and PIANO and features easy writing. This arrangement can be played by beginners or professionals, due to the characteristics and tempo of the piece. In this version the piano was included, adding a new contrapuntal idea. The chord symbols are present in the sheet music, allowing the ensemble to be accompanied by another harmonic instrument, or even for a better understanding of the harmonic structure of the piece. This music is ideal for recitals, rehearsals, concerts, weddings and also suitable for musical moments during Christmas, Easter and various holidays. Get Bach's Aria sheet music now and play this masterpiece that captivates the soul with its timeless beauty. Other features of this sheet music: - Easy arrangement: made for beginner, intermediate or professionals level musicians. - Chord symbols included: but, if you prefer, there is also a version of this same arrangement without the chord symbols on this website. - Version without the piano available: On this site, there is also a version of this same arrangement without the piano. - BRASS QUARTET version available: On this site, there is also a version of this same arrangement for BRASS QUARTET (with or without piano accompaniment). - SOLO version available: On this site, there are also easy SOLO VERSIONS of this arrangement for all BRASS instruments (with or without piano accompaniment). See more arrangements by Iury Cardoso, thank you so much! air bach for brass quintet and piano Orchestral Suite No.3 in D major, BWV 1068 air bach sheet music air on the G string for brass quintet and piano air bach brass quintet and piano sheet music air bach easy brass quintet and piano air on the G string for beginners easy brass quintet and piano chamber music air bach but on brass quintet and piano air on the G string bach brass quintet and piano version air on the G string bach easy brass quintet and piano arrangement air bach brass quintet and piano best arrangement easy brass quintet and piano baroque sheet music easy piano with brass quintet piano with brass quintet air bach easier version air on the G string sheet music air bach best arrangement for brass quintet with piano air on the G string arrangement for brass quintet with piano air bach for easy brass quintet with piano easy baroque sheet music for brass quintet with piano easy air on the G string Orchestral Suite No.3 in D major, BWV 1068 for brass quintet with piano easy air bach sheet music easy version of Air on the G string for brass quintet piano easy air bach brass quintet piano sheet music bach easy brass quintet piano air for brass quintet and piano beginners bach for brass students air bach best easy arrangement for piano and brass quintet air bach easy version for brass quintet piano easy trumpet easy trombone easy tubaeasy horn in F easy piano bach easy sheet music for brass quintet piano bach best easy arrangement for brass quintet and piano bach arrangement for solo piano and quintet bach for brass quintet and piano.
$11.99
10.8 €
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Johann Sebastian Bach
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"Air - on the G string"
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Iury Cardoso
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SheetMusicPlus
"Air - on the G string" (Bach) - Beautiful EASY version for BRASS QUARTET and PIANO (chord symbols).
Piano,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1492153 Composed b…
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Piano,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1492153 Composed by Johann Sebastian Bach. Arranged by Iury Cardoso. Baroque,Chamber,Christian,Classical,Wedding. 8 pages. Iury Cardoso #1068825. Published by Iury Cardoso (A0.1492153). Beautiful Easy BRASS QUARTET and PIANO arrangement of the piece: Air (from Orchestral Suite No.3 in D major, BWV 1068) by Johann Sebastian Bach (Score and parts: 8 pages) This arrangement of Bach's Aria transforms the original piece into a version for BRASS QUARTET and PIANO and features easy writing. This arrangement can be played by beginners or professionals, due to the characteristics and tempo of the piece. In this version the piano was included, adding a new contrapuntal idea. The chord symbols are present in the sheet music, allowing the ensemble to be accompanied by another harmonic instrument, or even for a better understanding of the harmonic structure of the piece. This music is ideal for recitals, rehearsals, concerts, weddings and also suitable for musical moments during Christmas, Easter and various holidays. Get Bach's Aria sheet music now and play this masterpiece that captivates the soul with its timeless beauty. Other features of this sheet music: - Easy arrangement: made for beginner, intermediate or professionals level musicians. - Chord symbols included: but, if you prefer, there is also a version of this same arrangement without the chord symbols on this website. - Version without the piano available: On this site, there is also a version of this same arrangement without the piano. - BRASS QUINTET version available: On this site, there is also a version of this same arrangement for BRASS QUINTET (with or without piano accompaniment). - SOLO version available: On this site, there are also easy SOLO VERSIONS of this arrangement for all BRASS instruments (with or without piano accompaniment). See more arrangements by Iury Cardoso, thank you so much! air bach for brass quartet and piano Orchestral Suite No.3 in D major, BWV 1068 air bach sheet music air on the G string for brass quartet and piano air bach brass quartet and piano sheet music air bach easy brass quartet and piano air on the G string for beginners easy brass quartet and piano chamber music air bach but on brass quartet and piano air on the G string bach brass quartet and piano version air on the G string bach easy brass quartet and piano arrangement air bach brass quartet and piano best arrangement easy brass quartet and piano baroque sheet music easy piano with brass quartet piano with brass quartet air bach easier version air on the G string sheet music air bach best arrangement for brass quartet with piano air on the G string arrangement for brass quartet with piano air bach for easy brass quartet with piano easy baroque sheet music for brass quartet with piano easy air on the G string Orchestral Suite No.3 in D major, BWV 1068 for brass quartet with piano easy air bach sheet music easy version of Air on the G string for brass quartet piano easy air bach brass quartet piano sheet music bach easy brass quartet piano air for brass quartet and piano beginners bach for brass students air bach best easy arrangement for piano and brass quartet air bach easy version for brass quartet piano easy trumpeteasy tromboneeasy tubaeasy piano bach easy sheet music for brass quartet piano bach best easy arrangement for brass quartet and piano bach arrangement for solo piano and quartet bach for brass quartet and piano.
$9.99
9 €
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Johann Sebastian Bach
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"Air - on the G string"
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Iury Cardoso
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SheetMusicPlus
We Are Climbing Jacob's Ladder - mixed quartet 1 - brass and clarinet
Small Ensemble Clarinet,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.845258 Co…
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Small Ensemble Clarinet,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.845258 Composed by Anon. Arranged by Phil Beaman. Concert,Folk,Instructional,Sacred,Spiritual. Score and parts. 6 pages. Phil Beaman #6501827. Published by Phil Beaman (A0.845258). This easy Instrumental Quartet arrangement of the old folk/spiritual draws its power and effectiveness from its pared down simplicity. It is reharmonized from other traditional versions and kept in strophic form. Every measure has the same rhythm - a quarter note followed by a dotted half note. Most of the time the pair of notes is the same pitch. There is plenty of time to figure out your next new note. There are no extra markings, just basic notes with a few accidentals. The beauty comes from the harmonic chords, so strive to listen for a good balance in your ensemble.This piece can be played majestic or meditative, depending on your mood and event needs. Simple, beautiful, and flexible; just what every musician needs in their repertoire. Great for classroom work as a first ensemble piece and the first small recital piece. Range - Part 1 is 1 octave; Parts 2, 3, 4 is only a fifth2 page score, 1 page @ part0:50 - 1:15 minutes with repeat
$4.99
4.49 €
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Anon
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We Are Climbing Jacob's Ladder - mixed quartet 1 - brass and clarinet
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Phil Beaman
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SheetMusicPlus
We Are Climbing Jacob's Ladder - mixed quartet 1 - brass and sax
Small Ensemble Alto Saxophone,Tenor Saxophone,Trumpet,Tuba - Level 1 - Digital Download
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Small Ensemble Alto Saxophone,Tenor Saxophone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.845257 Composed by Anon. Arranged by Phil Beaman. Concert,Folk,Instructional,Sacred,Spiritual. Score and parts. 6 pages. Phil Beaman #6501817. Published by Phil Beaman (A0.845257). This easy Instrumental Quartet arrangement of the old folk/spiritual draws its power and effectiveness from its pared down simplicity. It is reharmonized from other traditional versions and kept in strophic form. Every measure has the same rhythm - a quarter note followed by a dotted half note. Most of the time the pair of notes is the same pitch. There is plenty of time to figure out your next new note. There are no extra markings, just basic notes with a few accidentals. The beauty comes from the harmonic chords, so strive to listen for a good balance in your ensemble.This piece can be played majestic or meditative, depending on your mood and event needs. Simple, beautiful, and flexible; just what every musician needs in their repertoire. Great for classroom work as a first ensemble piece and the first small recital piece. Range - Part 1 is 1 octave; Parts 2, 3, 4 is only a fifth2 page score, 1 page @ part0:50 - 1:15 minutes with repeat
$4.99
4.49 €
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Anon
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We Are Climbing Jacob's Ladder - mixed quartet 1 - brass and sax
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Phil Beaman
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SheetMusicPlus
Mama's Little Shoes-brass trio 2
Brass Ensemble Horn,Trombone,Tuba - Level 1 - Digital Download SKU: A0.845159 Compo…
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Brass Ensemble Horn,Trombone,Tuba - Level 1 - Digital Download SKU: A0.845159 Composed by Phil Beaman. 20th Century,Instructional. Score and parts. 5 pages. Phil Beaman #6266755. Published by Phil Beaman (A0.845159). A short Instrumental Trio which is a chord progression piece like those written by Chopin and Schumann, but here brought into the 21st century with hints of New Age and Jazz. It is homophonic (the parts all move together.) Throughout it is easy crotchets (quarter notes). There are several dynamic markings to observe. There are some accidentals, mostly in the lowest 3rd part which often moves chromatically. This makes the the chord progression sometimes unpredictable and non-traditional so students must listen to tune well.
$4.99
4.49 €
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Phil Beaman
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Mama's Little Shoes-brass trio 2
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Phil Beaman
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SheetMusicPlus
Your Favorite Christmas Hymns and Carols for Wind Instruments Book 1
Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, …
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Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, General Worship, Christmas. Score, Set of Parts. 125 pages. Published by Colin Kirkpatrick Publications
Your Favorite Christmas Hymns and Carols for Wind Instruments<br> Arranged by Colin Kirkpatrick<br> Book 1<br> <br> This essential collection may be all you ever need for your wind instruments at Christmas. It's a bargain price too! The arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing.<br> <br> The publication consists of a four-staff score in concert pitch together with fourteen separate parts in various transpositions. There is also a fairly easy optional keyboard part. These four-part arrangements use flexible instrumentation so that you can exercise considerable control over the instrumental voicing. You can also create interesting instrumental tone colour by omitting groups of instruments. This can be achieved with the aid of a pencil. If the ensemble is large enough you could omit brass instruments in the quieter sections, or use a solo trumpet against a woodwind background. There are endless possibilities. You can hear the effect of omitting sections in the audio samples. The arrangements could therefore be played by brass quartet, woodwind quartet, saxophone quartet or virtually any combination of wind instruments. Using the piano part (which has been kept as simple as possible) the arrangements could also be used as solos or duets, depending of what instruments are available. Parts 1 and 2 in C have been printed an octave higher than the pitch shown in the score because the parts invariably are too low for flute or oboe. All the scores and parts are contained in a single125-page PDF file.<br> <br> The publication consists of four-stave scores for each hymn and carol plus:<br> <br> 1. Part 1 in B flat (clarinet, trumpet, cornet, soprano sax);<br> <br> 2. Part 1 in C (8ve higher for piccolo, flute, oboe);<br> <br> 3. Part 1 in E flat (alto saxophone, E flat clarinet);<br> <br> 4. Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn);<br> <br> 5. Part 2 in C (8ve higher for flute, oboe);<br> <br> 6. Part 2 in E flat (alto saxophone);<br> <br> 7. Part 3 in B flat (tenor saxophone, B flat baritone);<br> <br> 8. Part 3 in C (bass clef for trombone, bassoon);<br> <br> 9. Part 3 in E flat (E flat tenor horn, alto saxophone, alto clarinet);<br> <br> 10. Part 3 in F (French horn in F);<br> <br> 11. Part 3a in B flat (8ve below score pitch for 3rd clarinet);<br> <br> 12. Part 4 in B flat (B flat bass clarinet, B flat bass);<br> <br> 13. Part 4 in C (bass clef for trombone, bass trombone, bassoon, tuba);<br> <br> 14. Part 4 in E flat (E flat baritone saxophone, E flat bass)<br> <br> Book 1 includes the following 19 titles: Angels from the Realms of Glory (Melody: Gloria); Away in a Manger (Melody: Mueller); Unto Us a Child Is Born (Melody: Puer Nobis); Christians Awake! (Melody: Yorkshire); Deck the Halls with Boughs of Holly (Melody: Nos Galan); Go Tell it on the Mountain; Good Christian Men, Rejoice (Melody: In Dulci Jubilo); Good King Wenceslas (Melody: Tempus Adest Floridum); I Saw Three Ships Come Sailing In; It Came Upon the Midnight Clear (Melody: Carol); Little Jesus, Sweetly Sleep (Melody: Rocking); O Christmas Tree (Melody: Tannenbaum); O Come all ye Faithful (Melody: Adeste Fidelis); O Little Town of Bethlehem (Melody: Saint Louis); O Holy Night (Melody: Cantique Noël); Silent Night (Melody: Stille Nacht); The Holly and the Ivy; We Wish You a Merry Christmas and What Child is This? (Melody: Greensleeves)<br> <br> The audio samples include Angels from the Realms of Glory, Deck the Halls with Boughs of Holly, Go Tell it on the Mountain and Silent Night. Please note that arrangements in the publication are not intended to be compatible with Your Favorite Christmas Hymns and Carols for Brass.
$29.99
27.01 €
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Various
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Your Favorite Christmas Hymns and Carols for Wind Instruments Book 1
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Colin Kirkpatrick Publications
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SheetMusicPlus
Infant Holy, Infant Lowly (Trio - C Treble/Bass)
Small Ensemble Bassoon,Euphonium,Flute,Piano Accompaniment,Trombone - Level 4 - Digital Do…
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Small Ensemble Bassoon,Euphonium,Flute,Piano Accompaniment,Trombone - Level 4 - Digital Download SKU: A0.871125 Composed by Paul S. Jones. Arranged by Paul S. Jones. Christian,Christmas,Sacred. Score and parts. 8 pages. Paul S. Jones #6451179. Published by Paul S. Jones (A0.871125). This is a piano trio setting of the lovely Polish Christmas carol, Infant Holy, Infant Lowly; it interpolates Hark, the Herald Angels Sing near the end. Can be played by piano/violin/cello, or piano/flute/bassoon (or a bass brass instrument trombone/euphonium/baritone). There is a solo version for generic instrument high or low available in the collection, O Praise Him! Alleluia also by the composer, and there is an oboe/string/piano quintet version available on this site as another chamber music alternative.
$9.50
8.56 €
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Paul S
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Infant Holy, Infant Lowly
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Paul S. Jones
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SheetMusicPlus
Not Goin' Home Anymore
Brass Ensemble,Trombone Quartet Bass Trombone - Level 4 - Digital Download SKU: A0.7819…
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Brass Ensemble,Trombone Quartet Bass Trombone - Level 4 - Digital Download SKU: A0.781981 By Burt Bacharach. By Burt Bacharach. Arranged by Aaron Hettinga. 20th Century,Contemporary,Film/TV,Jazz,Pop. Score and parts. 8 pages. Aaron Hettinga #6026421. Published by Aaron Hettinga (A0.781981). Not Going Home Anymore is one of the gorgeous pieces from Burt Bacharach’s score for Butch Cassidy and the Sundance Kid. While it should be played as a slow waltz, it’s important not to drag it too slowly. There is ample opportunity to take advantage of suspended chords in the accompaniment throughout.Instrumentation: This piece is presented here in an arrangement for Trombone Quartet or Trombone Choir. Alternatively, any of the parts could be played by Euphoniums/Baritones, or the Bass Trombone line would work well on Tuba as well.Performance notes: This arrangement will feature the melodic/legato ballad abilities as well as the range of the 1st trombonist. The remaining parts are not too difficult for most players, but the lead will need to be a solid player. A demo recording (recorded ½ step higher in pitch) is available here: https://youtu.be/BFBIX548Fbs.
$14.99
13.5 €
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Burt Bacharach
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Not Goin' Home Anymore
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Aaron Hettinga
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SheetMusicPlus
Another Day Of Sun
Small Ensemble High Voice,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: …
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Small Ensemble High Voice,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.937765 Composed by Benj Pasek, Justin Hurwitz, and Justin Paul. Arranged by Gia H. Broadway,Film/TV,Musical/Show,Pop. Score and parts. 23 pages. Gia H #543549. Published by Gia H (A0.937765). For brass quintet and high voice. A highly exciting arrangement of 'Another Day of Sun' from La La Land. Starting with a slow instrumental introduction section, which quotes a small section of Mia & Sebastian's Theme. This sorrow and unique tune is arranged in a slightly-fantasie manner, immediately bring the audience into the scenes from the movie. The main section of this arrangement, 'Another Day of Sun', is in the original key, designed for vocal and brass quintet. The brilliant sound of brass instrument will fit the musical style, and bring enjoyment both to performers and audience. (There's a live performance recording of the arrangement. However it lacks sound quality since it was recorded by mobile phone, thus I decided not to upload it. If you are still interested in that recording, please contact me.).
$49.99
45.02 €
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Benj Pasek, Justin Hurwitz, and Justin Paul
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Another Day Of Sun
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Gia H
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SheetMusicPlus
Machaut: Le Messe de Nostre Dame for Brass Quartet
Brass Quartet Cornet,Horn,Trombone - Level 2 - Digital Download SKU: A0.1257210 Com…
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Brass Quartet Cornet,Horn,Trombone - Level 2 - Digital Download SKU: A0.1257210 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 83 pages. Jmsgu3 #850538. Published by jmsgu3 (A0.1257210). INSTRUMENTATION: Cornet, French Horn & 2 Trombones1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.
$74.95
67.5 €
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Guillaume de Machaut, 1300-1377
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2 Trombones
1
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Machaut: Le Messe de Nostre Dame for Brass Quartet
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jmsgu3
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SheetMusicPlus
Moonlight Sonata by Beethoven for Tuba Quintet
Low Brass Quintet,Tuba - Level 2 - Digital Download SKU: A0.1251249 Composed by Lud…
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Low Brass Quintet,Tuba - Level 2 - Digital Download SKU: A0.1251249 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Christmas,Classical,March,Romantic Period. 15 pages. Woods Only, Arrangements #845526. Published by Woods Only, Arrangements (A0.1251249). This arrangement adapted for tuba quintet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice.Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$9.99
9 €
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Ludwig van Beethoven
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Moonlight Sonata by Beethoven for Tuba Quintet
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Woods Only, Arrangements
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SheetMusicPlus
Four Canadian Sketches (Brass Band)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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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 5 - Digital Download SKU: A0.767031 Composed by Mike Lyons. 20th Century,Contemporary,Multicultural,Patriotic,World. Brass Band. 185 pages. Lyons Music Services #46377. Published by Lyons Music Services (A0.767031). This is an arrangement for Brass Band of my Flute Octet of the same name. It will need at least a 1st section band to handle the last movement. This might be a good piece to use in an entertainments contest. There is quite a bit for the percussion to do which took some doing as the original had none. The four movements represent my thoughts about Canada and its people. 1. March for the Frontiersmen: Canada has a lot of wilderness that has not been spoiled by man. This movement represents the rugged frontiersmen pushing through the Canadian forests. 2. The Great White Cold: I imagined the bitter freezing cold and icy beauty of Canadian winters (not that I have ever experienced such) and I used some slightly unusual techniques to create the impression of a cold wind blowing across the arctic scenery. 3. Campfire Songs: I had this vision of the great outdoors with Canadian families going camping in the mountainous regions sitting round their campfire at night and singing songs. I had no idea at the time whether Canadians were campfire songsters or what kinds of songs they might choose, so I selected a number of ’folk’ songs from the Great Canadian Tune Book and incorporated them into this movement. 4. The New Found Land: This movement moves to Canada’s eastern seaboard and I imagined new emigrants to the country arriving at a busy harbour and seeing all the hustle and bustle of a lively community and sea port. With some difficulty the debarkees find their land legs but then become absorbed in the lively new world to which they have moved.
$40.00
36.03 €
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Mike Lyons
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Four Canadian Sketches
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Lyons Music Services
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SheetMusicPlus
Erlkönig - 10 piece brass
Large Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Digital Download SKU: A0.101…
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Large Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Digital Download SKU: A0.1017071 Composed by Franz Schubert. Arranged by Eoin Buchanan. Contemporary. Score and parts. 92 pages. 7plc Music #6048125. Published by 7plc Music (A0.1017071). Erlkönig Music: Franz Schubert (1797-1828)Poem: Johann Wolfgang von Goethe (1749-1832)I have spent many a long hour in choosing instruments which, when blended correctly will offer the performers both pleasure and challenge. At first sight the score will not appear formidable. However, given the speed of the piece (Schubart marked it at a crotchet equals 152) and the need to allow the solo voices to speak, I believe the score to be challenge enough!Taking time to acquaint oneself with Schubert’s original will be time well spent in understanding both the storyline of Goethe’s poem and the structure of the piece . I therefore commend the animated presentation by Oxford Lieder on YouTube, which also contains an English translation.Back to this score, the solo parts are:Narrator: Alto Trombone unhurried, tell the story...Father: Tenor Trombone in a bold, reassuring style...Child: Flugelhorn (Soprano Tuba) in a frightened, anguished style...Elf-King: Euphonium [scored in C] (Tenor Tuba) in a haunting style with good old fashioned vibrato...Other parts:2 Bb Trumpets 2 Horns in FBass TromboneBass Tuba scored in CIf you need a score and parts using a Bb Euphonium and/or Eb/F Bass Tuba then let me know.
$22.50
20.26 €
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Franz Schubert
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Erlkönig - 10 piece brass
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7plc Music
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SheetMusicPlus
Symphony No. 7, 2nd Movement - Beethoven (Brass sextet w. timpani)
Small Ensemble B-Flat Trumpet,B-Flat trombone,Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Euph…
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Small Ensemble B-Flat Trumpet,B-Flat trombone,Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Euphonium,Timpani - Level 4 - Digital Download SKU: A0.767030 Composed by Ludwig van Beethoven. Arranged by Mike Lyons. Classical,Romantic Period. Score and parts. 107 pages. Lyons Music Services #45769. Published by Lyons Music Services (A0.767030). This is a brass sextet arrangement of the well-known 2nd movement of Beethoven's 7th symphony. Additionally, there is a quite important timpani part. Until relatively recently, this piece held the record for the melody with the longest run of the same note. The score is laid out as Parts 1/2 in eb, parts 3/4 in Eb part 5 in Bb and part 6 in Eb (all treble clef) Parts are supplied as follows: Part 1 in Bb/C (Treble) Part 2 in Bb/C (Treble)/C (Alto) Part 3 in F/Eb/C (Alto) Part 4 in F/Eb/C (Alto)/C (Bass) Part 5 in Bb/C (Bass) Part 6 in Eb/C (Bass) Timpani At nearly 7 1/2 minutes long, it is quite a lengthy piece, but is relatively undemanding on the lip.
$19.99
18 €
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Ludwig van Beethoven
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Symphony No. 7, 2nd Movement - Beethoven
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Lyons Music Services
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SheetMusicPlus
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