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Arco
Brass Quartet: 2 trumpets, horn, trombone
Sheetmusic to print
5 sheet music found
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1
Yellow Submarine
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Brass Quartet: 2 trumpets, horn, trombone
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EASY
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Rock
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The Beatles
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Marcos Soares
#
Yellow Submarine
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Marcos Soares
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.932386 By The Beatles. By John Lennon and Paul McCartney. Arranged by Marcos So...
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Brass Ensemble Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.932386 By The Beatles. By John Lennon and Paul McCartney. Arranged by Marcos Soares. Rock. Score and parts. 8 pages. Marcos Soares #6450781. Published by Marcos Soares (A0.932386). Yellow Submarine is a song recorded by British band The Beatles on the album Revolver, in 1966. It was also released as a single, with the song Eleanor Rigby as the B side. It's one of the band's most famous songs. The song is sung by drummer Ringo Starr, and is characterized by a strong chorus and lots of sound effects. The song inspired the creation of the eponymous musical cartoon, released two years later, and included on the soundtrack. Years later, the song was also included in the Yellow Submarine Songtrack compilation.
$12.99
Telepatia
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE/ADVANCED
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Contemporary
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Kali Uchis
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Jasmine Brown
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Telepatia
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Jasmine Brown
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.960344 By Kali Uchis. By Alberto Melendez, Cristina Chiluiza Calderon, Enrique ...
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Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.960344 By Kali Uchis. By Alberto Melendez, Cristina Chiluiza Calderon, Enrique Lara Colmenares, Karly Loaiza, Manuel Lara, Marco E Masis, Marco Efrain Masis, Maria Cristina Chiluiza Calderon, Patrick Ingunza, Servando Primera, Silverio Ramon Lozada Schwarck, and etc. Arranged by Jasmine Brown. Contemporary. Score and parts. 14 pages. Jasmine Brown #6331605. Published by Jasmine Brown (A0.960344). Kali Uchis's TelepatÃa for brass quartet. I've arranged it in a slightly more Latin style.
$12.99
Angel
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE/ADVANCED
#
Pop music
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Sarah McLachlan
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Jim Bicigo
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Angel
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Polar Publications
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.757952 By Sarah McLachlan. By Sarah McLachlan. Arranged by Jim Bicigo. Pop. Sco...
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Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.757952 By Sarah McLachlan. By Sarah McLachlan. Arranged by Jim Bicigo. Pop. Score and parts. 10 pages. Polar Publications #5985205. Published by Polar Publications (A0.757952). What a lovely song this is, and this setting for brass trio is true to the loveliness of the melody. Set somewhat in the style of Marco Bordogni, this would fit in any program.
$18.00
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 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
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzona in Echo Ch.
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
(+)
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 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
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