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Anne E
Brass quartet : 2 trumpets, trombone, tuba
Sheetmusic to print
7 sheet music found
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1
Consolation No. 5 in E Major - Brass Quartet
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Classical
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Franz Liszt
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Anne L Christopherson GRSM ARC
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Consolation No. 5 in E Major -
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Music-Scores.com
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.722039 Composed by Franz Liszt. Arranged by Anne L Christopherson GRSM ARCM. Co...
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Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.722039 Composed by Franz Liszt. Arranged by Anne L Christopherson GRSM ARCM. Concert,Contemporary,Holiday,Love,Sacred,Wedding. Score and parts. 8 pages. Music-Scores.com #5729883. Published by Music-Scores.com (A0.722039). Consolation No. 5. A lovely, tuneful piece which requires a singing tone. Arranged for brass quartet of 1 Trumpet, 2 Trombones and 1 Tuba.Duration 2 minutes, 15 seconds.Arranged by Anne L Christopherson GRSM ARCM at https://www.music-scores.com.
$6.95
The Star-Spangled Banner for 10-part Brass Ensemble
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Patriotic
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Francis Scott Key
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Geoffrey Bergler
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The Star-Spangled Banner for 1
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1297741 Composed by Francis Scott Key. Arranged by Geoffrey Bergler. Patri...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1297741 Composed by Francis Scott Key. Arranged by Geoffrey Bergler. Patriotic. Score and Parts. 17 pages. Gordon Cherry #887714. Published by Gordon Cherry (A0.1297741). The Star-Spangled Banner written by Francis Scott Key, is the national anthem of the United States of America. Written in 1814 by Key, who incorporated the song melody from a popular English drinking song called To Anacreon in Heaven the work has been the official anthem of America since 1931.This great patriotic anthem has been beautifully arranged for 10-part Brass Ensemble by Geoffrey Bergler, taken from a piano rendition by Louis Moreau Gottschalk and is appropriate for advanced performers.The instrumentation is for 1 Trumpet in e-flat, 3 Trumpets in b-flat, 2 Horns, 3 Trombones and Tuba.
$27.50
At Calvary
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Brass quartet : 2 trumpets, trombone, tuba
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William R
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Frank Garlock
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At Calvary
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
Brass quartet - Grade 3 - Digital Download SKU: DX.FGB405 Composed by William R. Newell. Arranged by Frank Garlock. Easter. Sacred instrumental music. Sc...
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Brass quartet - Grade 3 - Digital Download SKU: DX.FGB405 Composed by William R. Newell. Arranged by Frank Garlock. Easter. Sacred instrumental music. Score and parts. 10 pages. David E. Smith - Digital Sheet Music #FGB405. Published by David E. Smith - Digital Sheet Music (DX.FGB405). SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC). The opening section follows very much the manner of the original hymn with harmonic counterpoint to add interest. With a brief modulation the piece goes into a more solemn style reminiscent of the opening section. The third section is in a march style leading into the final section which establishes a sense of conclusion.
$9.95
Come Thou Fount
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Brass quartet : 2 trumpets, trombone, tuba
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Folkloric/Traditional
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Robert Robinson
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Monty J
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Come Thou Fount
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
Brass Quartet - Grade 2.5 - Digital Download SKU: DX.145402 Composed by Robert Robinson. Arranged by Monty J. Budahl. Traditional. Key of Eb. Sacred Inst...
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Brass Quartet - Grade 2.5 - Digital Download SKU: DX.145402 Composed by Robert Robinson. Arranged by Monty J. Budahl. Traditional. Key of Eb. Sacred Instrumental Music. Score and Parts. 10 pages. David E. Smith - Digital Sheet Music #145402. Published by David E. Smith - Digital Sheet Music (DX.145402). A brass quartet for two trumpets and two trombones with opt. Fr. Horn and Baritone Treble Clef. It begins in unison and then breaks into four part harmony- all in a majestic style, continuing in that manner throughout the first verse. The second verse is a duet between the first trumpet and trombone. The next statement passes the tune around the various parts gaining in excitement. The final section is more solemn and then enhanced with bell-tone figures. The Coda is in a majestic conclusion.
$7.00
Brass Quintet - Three Pastoral Sketches
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Contemporary
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Mike Lyons
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Brass Quintet - Three Pastoral
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Ly...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00
DIES IRAE from REQUIEM by G. Verdi
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Brass quartet : 2 trumpets, trombone, tuba
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EASY
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Giuseppe Verdi
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Alessandro Macrì
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DIES IRAE from REQUIEM by G. V
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Music Macri Editions
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249 Composed by Giuseppe Verdi. Arranged by Alessandro Macrì. A Capp...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249 Composed by Giuseppe Verdi. Arranged by Alessandro Macrì. A Cappella,Concert,Film/TV,Romantic Period,Sacred. Score and parts. 20 pages. Music Macri Editions #5771023. Published by Music Macri Editions (A0.931249). La Messa da Requiem di Giuseppe Verdi è un'opera certamente religiosa, ma in un modo tutto suo, scritta cioè da un uomo che non era propriamente praticante: composta ed eseguita (su un precedente progetto per Rossini) nel 1874 per commemorare Alessandro Manzoni a un anno dalla scomparsa, è un lavoro che unisce, alla devozione quasi filiale per i due Grandi, una sensibilità operistica tutta verdiana. E in verità , i cantanti solisti che Verdi aveva in mente nello scrivere la partitura erano certamente voci d’opera.La prima nella chiesa di San Marco a Milano ebbe un tale successo che si tennero altre tre esecuzioni al Teatro alla Scala. Francis Tovey scrive: La Messa era arrivata nella sua vera casa (...) dove il pubblico, che non doveva badare alle convenzioni ecclesiastiche, poté dare sfogo al proprio entusiasmo, con esuberanza tipicamente italiana. Verdi non aveva intenzione di riservare la partitura a rare, solenni commemorazioni. La qualità drammatica e operistica del Requiem mal si adatta all’uso di un servizio regolare in chiesa, né il compositore voleva che funzionasse come liturgia. Fin dall'inizio, Verdi ha concepito il suo Requiem per l’esecuzione, non per la devozione; voleva che il suo lavoro fosse complementare alla popolarità di Manzoni per mostrare al mondo la cultura italiana, tanto che lo portò personalmente in tournée a Parigi, New York, Londra e Vienna.Il Requiem di Verdi, come Ein deutsches Requiem di Johannes Brahms, è l’affermazione di un dolore personale che si serve di un testo preso in prestito dalla liturgia sacra.Neanche Brahms, come Verdi, era particolarmente devoto. Per entrambi, le parole della messa da requiem per i defunti rappresentano il bisogno universale di esprimere le emozioni che ci assalgono quando una persona amata muore: dolore, perdita, tristezza, rabbia, paura del giudizio divino e speranza di pace sia per i defunti che per coloro che sono in lutto.Verdi inizia con i versi Requiem aeternam dona eis, Domine che il coro e l'orchestra intonano in fasi sommesse e raccolte. I quattro solisti si uniscono al coro e all'orchestra per uno stentoreo Kyrie eleison. Il tonitruante boato orchestrale e corale del Dies irae che segue immediatamente il Kyrie è il momento più atteso e memorabile del Requiem. Qui i musicisti, i coristi e i cantanti devono produrre esplosioni sonore continue e inarrestabili. Gli ottoni, le percussioni, i legni e il coro sono tirati al massimo, mentre le voci gridano sgomento e dolore, e gli archi crescono di intensità e impeto. Del resto, il materiale musicale del pauroso Dies irae ritorna di continuo lungo tutta la Messa, dipingendo un quadro da Giorno del Giudizio: non a caso l’opera è stata equiparata all’affresco michelangiolesco della Cappella Sistina. Un lavoro cupamente drammatico, con intermittenti, brevi, violenti lampi di luce.Di volta in volta, Verdi ci fa vivere il terrore dell'inferno (timbri e registri bassi) e la luminosa speranza di salvezza, preparandoci alla gioia del Sanctus, con la tromba che annuncia Santo, santo, santo, Signore degli eserciti! Il cielo e la terra sono pieni della tua gloria!Verdi conclude il suo Requiem con un soprano che intona i primi versi di Libera me (Liberami, o Signore, dalla morte eterna in quel terribile giorno). Tutto il dramma, il terrore, l’angoscia delle sezioni precedenti ritorna, come se il compositore intendesse lasciarci con un senso di incertezza: saremo, alla fine, riscattati? Verdi riprende qui la musica del Dies irae, ma alla fine, il coro e il soprano finiscono in un sussurro quasi impercettibile, con Libera me. Libera me: una speranza, una preghiera, un gemito sommesso.
$9.00
Bach: Siciliano from BWV 1031 for Brass Quintet
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Darrell Goforth
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i
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Bach: Siciliano from BWV 1031
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Darrell Harrison Goforth
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.747403 Composed by Johann Sebastian Bach. Arranged by Darrell Goforth. Bar...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.747403 Composed by Johann Sebastian Bach. Arranged by Darrell Goforth. Baroque,Graduation,Instructional,Wedding. Score and parts. 12 pages. Darrell Harrison Goforth #2162765. Published by Darrell Harrison Goforth (A0.747403). One of Bach's most familiar pieces, the Siciliano from the Flute Sonata in E flat (BWV 1031) is here set for Brass Quintet.This arrangement features the lower voices; i.e. Tuba, Horn and Trombone, which makes it a little different from the usual setting for this piece. There is still work for the trumpets, so no one is left out.At only 2 minutes in length, this arrangement can be inserted into almost any performance setting, such as weddings, graduations and just general performances.Comments or questions are always welcome at dgoforth2@comcast.netLike me on Facebook at https://www.facebook.com/goforthmusic/ and visit my YouTube channel at https://www.youtube.com/user/dgoforth2 .
$19.99
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