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You've selected:
Though He Were A Son
Brass Quintet: 2 trumpets, horn, trombone, tuba
Sheetmusic to print
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1
He Ain't Heavy, He's My Brother
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1404796
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1404796 By Neil Diamond. By Bob Russell and Bobby Scott. Arranged by Peet du Toit. Rock. 14 pages. Peet du Toit #987859. Published by Peet du Toit (A0.1404796). James Wells, Moderator of the United Free Church of Scotland, tells the story of a little girl carrying a big baby boy in his 1884 book The Parables of Jesus. Seeing her struggling, someone asked if she wasn't tired. With surprise she replied: No, he's not heavy; he's my brother.He Ain't Heavy, He's My Brother is a ballad written by Bobby Scott and Bob Russell. Originally recorded by Kelly Gordon in 1969, the song became a worldwide hit for the Hollies later that year and also a hit for Neil Diamond in 1970. It has been recorded by many artists in subsequent years. The Hollies' version was re-released in 1988 and again was a major hit in the UK.Scott and Russell were introduced to each other by Johnny Mercer, at a California nightclub. Although Russell was dying of lymphoma and the pair met only three times, they managed to collaborate on the song.Not sure how many brass quintet versions of this music is available, but here's my representation of it. Enjoy!
$21.00
19.28 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Neil Diamond
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he's my brother
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He Ain't Heavy, He's My Brother
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Peet du Toit
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SheetMusicPlus
C Jam Blues for Brass Quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: …
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Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.â€The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session†the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam†Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues†was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues†was one of his nightly features with Satch’s ensemble along with “Tea for Two.†Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,†etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,†featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.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.
$12.99
11.93 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Keith Terrett
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Bb Trombone/Euphonium in TC
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C Jam Blues for Brass Quintet
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Keith Terrett
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SheetMusicPlus
El Condor Pasa (If I Could)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1402823
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823). This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).
$15.00
13.77 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Daniel Alomia Robles, Jorge Milchberg, and Paul Simon
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El Condor Pasa
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Peet du Toit
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SheetMusicPlus
Farewell Celebration (for Brass Quintet)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158678 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158678 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic. 30 pages. Https://gildedmusicpress.com/ #758696. Published by https://gildedmusicpress.com/ (A0.1158678). The opening of this 4-minute piece is dance-like, intimating a celebratory mood up front—alone at first, but shared with the ensemble throughout the piece. After much celebration, the piece ends solemnly, as if giving each other final hugs and good-byes. Every Airman has a story to tell. “Farewell Celebration†is part of my story as an Airman musician. It is a fitting farewell to the Heartland of America Band stationed at Offutt Air Force Base in Bellevue, Nebraska, and to the entire American Midwest, as my family and I finalized our plans to uproot for an extraordinary three-year adventure in Asia. Work on this composition began toward the end of July and beginning of August 2021 as a melody with instructions to be the opening of a brass quintet piece, beginning with trumpet alone. It remained in that state until January 2022 when I entered this sketch into the computer to be worked on sporadically along with several other works in progress. When I contracted Covid-19 in July 2022, all of these works and other incipient pieces received attention, but this one more than most others. In the fall, I felt an urgency to complete it as a sentimental gesture of enthusiastic good-byes due to many life changes taking place. In particular, my fourth son, Paul, was departing for two years for Brazil. I was compelled to complete this work before he left on October 17, 2022, which I accomplished the day prior to his departure. In addition to Paul’s farewell, two co-workers with whom I had worked closely in the Air Force brass quintet called “Offutt Brass,†were also moving on with new exciting chapters in their lives. MSgt Ben Kadow, our fantastic trombonist, had received an assignment to move to Germany, leaving us on November 8. And MSgt Ryan Heseltine, our unparalleled French horn player, retired at the end of the year. On top of all that, in September I was given an assignment to move to Japan the following summer. Some farewells are more difficult to endure than others, though all seem to have varied brands of profound emotion. In contrast to saying good-bye to a loved one who passes away, all of these farewells were joyful, albeit poignant. “Farewell Celebration†is dedicated to my son Paul, to my outstanding professional colleagues, Ben Kadow and Ryan Heseltine, and to all our friends and family members who we left behind as we moved to Japan.
$24.95
22.91 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Dr
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Farewell Celebration
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https://gildedmusicpress.com/
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SheetMusicPlus
The Duke of Alva's entry into Brussels for brass quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Ensemble - Digital Download SKU: A0.999619 Composed by Peter Benoit. Arranged…
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Brass Ensemble - Digital Download SKU: A0.999619 Composed by Peter Benoit. Arranged by Marc Goris. Romantic Period. Score and parts. 15 pages. Brassery Publications #6025981. Published by Brassery Publications (A0.999619). The Duke of Alva's entry into Brussels from The Pacification of Ghent, duration : 2 min music : Peter Benoit arr. : Marc Goris Peter Benoit composed music based on the historical drama with the title 'De Pacificatie van Gent' by Emiel Van Goethem. Because of the combination of drama and music he defined the piece as a lyrical drama. He completed The Pacification of Ghent on 11 July 1876, the world premiere happening on 3 September at the Ghent Municipal Theatre. On 8 November 1576 a treaty was proclaimed from the balcony of the city hall in Ghent between the different regions of the southern and the northern Netherlands. This Pacification of Ghent occurred after the revolt against the Spanish occupation of Philip the Second and was the great ideal of William of Orange: he was striving for unity in the seventeen provinces in the Netherlands as well as for freedom of religion. Furthermore the treaty stipulated that the Spanish troops were to be removed from the Netherlands. Although this treaty was observed for only three years, the Pacification was embellished with a mythical aura in the Flanders of the 19th century. King Philip II sent the Duke of Alva to Brussels on 22 August 1567, at the head of a powerful army. On arrival, Alva replaced Margaret of Parma, the sister of the Spanish king, as head of the civil jurisdiction. He decided that the local nobility was in open rebellion against the king and supported the new Protestant teachings, heresy in his view. A few days later, on 5 September 1567, Alva established the Council of Troubles, popularly known in the Netherlands as the Court of Blood, to prosecute those responsible for the riots of 1566, especially those who were deemed heretics. Alba also targeted the local Catholic nobility, who favoured dialogue and opposed outside intervention. Two of the three heads of the Flemish nobility, the Count of Egmont, a Catholic General for Philip II, who had led the cavalry that defeated the French at the Battle of San Quentin, and Philip de Montmorency, Count of Horn, were arrested. The court sentenced both counts to death. The Major of Antwerpen, Anthony van Stralen, Lord of Merksem and Jan van Casembroot were other famous victims of the bloody repression, along with a large group of other heretics. The condemned persons were executed on 5 June 1568 in the Town Hall Square in Brussels. Alva had little confidence in Flemish justice, which he perceived as sympathetic to the defendants, and witnessed the executions in person.
$12.00
11.02 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Peter Benoit
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The Duke of Alva's entry into Brussels for brass quintet
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Brassery Publications
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SheetMusicPlus
Joy to the World — brass quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SK…
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Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1136166 Composed by Lowell Mason (1792-1872). Arranged by Todd Marchand. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 12 pages. Con Spirito Music #736195. Published by Con Spirito Music (A0.1136166). “Joy to the World†is, perhaps, the most widely performed Christmas carol, having appeared in nearly 1800 different hymnals since its initial publication, according to hymnary.org.The text was written by the prolific English hymn-writer Isaac Watts (1674-1748) as a paraphrase of Psalm 98 and published in his Psalms of David Imitated (1719) under the heading “The Messiah's Coming and Kingdom.†The paraphrase is a Christological interpretation of the psalm — i.e., an understanding of a passage of Old Testament scripture as pointing to the Christ of the New Testament.As hymn texts and tunes were often printed separately, Watts indicated that “Joy to the World†should be sung to any Common Meter (CM) tune — a poetic meter consisting of four lines that alternate between iambic tetrameter and iambic trimeter, with each foot consisting of an unstressed syllable followed by a stressed syllable. Consider the CM tunes, “Amazing Grace†and “O Little Town of Bethlehem,†for example — both very different from the tune commonly associated with Watts’ text today.That tune was written, or at least arranged, by the American hymn-writer and music educator Lowell Mason (1792-1872) and published in The National Psalmist (Boston, 1848). Mason had published three earlier arrangements of the tune he named “ANTIOCH,†the first in 1836 and attributed as being “from Handel.†Although Mason was a great admirer and student of Handel's music, and though the first four notes of Mason's “ANTIOCH†are the same as the first four in the chorus “Lift up your heads†from Handel's Messiah, the similarity ends there.This arrangement for brass quintet features a “bell-toneâ€-like fanfare in the introduction, interlude, and ending; textural contrasts between high and low brass; and tasteful re-harmonizations of the tune in the middle and concluding verses.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$15.00
13.77 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Lowell Mason
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Joy to the World — brass quintet
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Con Spirito Music
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SheetMusicPlus
The Peanut Vendor (el Manisero)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1221432
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1221432 By Stan Kenton & His Orchestra. By L. Wolfe Gilbert, Marion Sunshine, and Moises Simons. Arranged by F. Leslie Smith. Jazz,Latin,Multicultural,Pop,World. 39 pages. Sweetwater Brass Press #817754. Published by Sweetwater Brass Press (A0.1221432). Can a brass quintet sound like Stan Kenton’s 19-piece big band? No, not really:  no saxophones, no rhythm section, no Milt Bernhart, no Maynard Ferguson, no Bill Russo, no Conte Candoli, no . . .  Well, you get the picture.  But five brass instruments can play in the Kenton style.  And that’s what this is:  “The Peanut Vendor†in the style of the Stan Kenton Orchestra.   Moisés Simons’ “El Manisero†(“The Peanut Vendorâ€) was first recorded in the late 1920s.  The melody was relatively simple yet exotic sounding; the lyrics, a Cuban street vendor’s pitch for selling his bags of peanuts.  Consumers bought more than a million copies of the sheet music, and the song supposedly led to a “rumba craze†in the U.S. and Europe (although the song is not really a rumba!).     Don Azpiazú and his Havana Casino Orchestra recorded the song for RCA Victor in 1930 with Antonio MachÃn on the vocal; its sales may well have been more than the million-plus sheet music copies sold.     English lyrics were added by L. Wolfe Gilbert and Marion Sunshine and the song became “The Peanut Vendor.† One estimate is that nearly 200 recordings have been made.  That’s a lot of peanuts.    Stan Kenton revived “The Peanut Vendor†in 1947 when he first recorded it for Capitol Records.  His version was completely instrumental.  Rhythm and saxophones opened the number and established the background; later the trombone section added emphasis.  A trombone solo first stated the melody but eventually the five-person trumpet section took over with what one writer referred to as “shrieking dissonances.† “The Peanut Vendor†subsequently became one of Kenton’s most requested numbers and he recorded it at least three more times.   This brass quintet arrangement, of course, has access to only two trumpets.  So the good news is that all five players get a chance with the melody.  Kenton’s extended opening trombone solo is shared by Trombone and Tuba.  The “shrieking dissonances†are performed not only by Trumpets but also by Horn in F and Trombone.  The bad news is that all five players have to take a turn with the continuing rhythmic background melody.  Written in 4/4 time, the suggested tempo is 184 BPM in a Latin style.  Kenton’s version is in B-flat major; this arrangement lowers it to A-flat major so that most notes are within the normal playing range of the instruments.  (Don’t worry; the “shrieking dissonances†are still there!)     Completed in 2023, performance time runs about 3 minutes, 37 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).
$12.99
11.93 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Stan Kenton & His Orchestra
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The Peanut Vendor
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Sweetwater Brass Press
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SheetMusicPlus
Higher Ground ("I'm pressing on the upward way") — brass quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1172085
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1172085 Composed by Charles H. Gabriel. Arranged by Todd Marchand. 19th Century,Christian,Sacred,Traditional. 16 pages. Con Spirito Music #772348. Published by Con Spirito Music (A0.1172085). Higher Ground (I'm pressing on the upward way) is a 19th-century American gospel song with lyrics by Johnson Oatman, Jr. (1856-1922) and music by Charles Hutchinson Gabriel (1856-1932).Both Oatman and Gabriel were prolific writers. Oatman, an ordained Methodist Episcopal minister employed primarily in retail and insurance work, is said to have written over 5,000 hymns and songs in the latter 30-some years of his life.  Although not a talented singer nor recognized as an outstanding preacher, he was acknowledged to have ministered to countless souls through the words of his hymns and songs.Gabriel, a Methodist Episcopal church music director and editor of gospel song books, anthem collections, music instruction manuals, and more, is said to have written between seven and eight thousand texts and/or tunes under his own name and several pseudonyms. In addition to the music for Higher Ground, he composed the music for such well-known gospel songs as His Eye is on the Sparrow and Will the Circle Be Unbroken? The opening line of Oatman’s text (I'm pressing on the upward way) draws especially from Philippians 3:13-14: “Forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the upward call of God in Christ Jesus.†Other sources include passages from the prophets Isaiah and Micah and the Psalms of Ascent (120-134). Gabriel's music cleverly evokes the upward vision of the text with an ascending arpeggio spanning an octave on the first words of the refrain (Lord, lift me up) and the matching of the highest notes of the tune to the words a higher plane.This arrangement for brass quintet expands the meter of the tune from 3/4 to 4/4 to allow for some countermelodic call-and-response by various voices in the ensemble. Every member will enjoy a lyrical part to play in this arrangement, which is fitting as a prelude, offertory, or special musical selection in worship, and ideal as a lyrical selection on recitals. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$15.00
13.77 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Charles H
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Higher Ground
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Con Spirito Music
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SheetMusicPlus
Ben Hur Chariot Race March
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Ar…
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Brass quintet - Digital Download SKU: IZ.CMS164 Composed by Edward Taylor Paull. Arranged by Judith Katz. Score and Parts. 24 pages. Imagine Music - Digital #CMS164. Published by Imagine Music - Digital (IZ.CMS164). 9 x 12 in inches.While doing some research on pre-20th Century American composers, I came across the name of Edward Taylor Paull. In all of my years as a flutist, conductor, and now writer, I never heard of Paull before, but I was curious enough to look for any sound files of his music, and came across both live piano performances and piano roll performances of the Ben HurChariot Race March on YouTube.Edward Taylor Paul, known in some circles as The Other March King was born on February 16th, 1858. In Gerrardstown, Virginia, now West Virginia. While not too much is known about his early years, we do know that his adult years were spent as itinerant musician, instrument sales person, selling pianos and organs, composer, as well as publisher.The Civil War era had Patrick Sarsfield Gillmore as the most famous bandleader and composer. As children of this era, John Philip Sousa and Edward Taylor Paull, were destined to follow in Gillmore's footsteps. While Sousa became successful through his work as both conductor and composer, even attaining the moniker of March King, the road to success and fame was more difficult for Paull. We do know, that by 1878, he was the manager of a music store that sold pianos and organs, eventually going bankrupt, and having to be bailed out by his own father. By 1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano. This was to become one of many marches and parlour piano compositions by 'E.T, Paull. He may not have been the most skilled musician of his era, but he was wise enough to realize how popular marches became in 1880's and '90's.Paull's compositions were also associated with beautiful color covers. He was fortunate to live in Richmond, Virginia, and the lithography company of A. Hoen & Company, provided him the highest quality and richly-colored art work for his compositions. This company was unique, in that they used a five- color process, which added depth to the color. Thepopularity of marches, plus the great covers, both contributed to the 60,000 copies that the Ben Hur Chariot Race March sold in its first printing. Not bad, for a first composition.Paull found inspiration for his march from the novel Ben Hur, written and published by General Lew Wallace in 1880. Paull dedicated his composition to Wallace, who sold many copies of his book. Eventually, there was a stage play and three film renditions; one in 1907, 1925, and 1959. Some time in the 1920's, the Sousa Band recorded the Ben Hur Chariot Race March, and of course, the MGM, 1925 film version, helped in a renewed popularity of Paull's composition.Edward Taylor Paull died in 1924, and his wife retained the copyright, until it went into public domain. What remains today are a few music examples in the Library of Congress collection, as well as some 78's and piano rolls. While I did my research on this piece, I tried to find any applicable Sousa manuscripts of a possible arrangement, but I could not findany. I usually write for woodwinds, but in this case, I thought that a brass quintet would sound far better. I also chose a moderate tempo, so as not to lose some of the nuances of the original composition.
$12.00
11.02 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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1894, he was the manager of the Richmond Music Publishing Company, and this was the same year that he was issued his first copyright on the Ben Hur Chariot Race March This was originally written for piano, particularly, the parlour piano
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Edward Taylor Paull
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one in 1907, 1925, and 1959
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Ben Hur Chariot Race March
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Imagine Music - Digital
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SheetMusicPlus
Ob-La-Di, Ob-La-Da for Brass Quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
By The Beatles. Arranged by Diego Marani. Score, Set of Parts. 21 pages. Published by Dieg…
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By The Beatles. Arranged by Diego Marani. Score, Set of Parts. 21 pages. Published by Diego Marani (H0.144811-604200). - Score,Set of Parts - - Diego Marani
"Ob-La-Di, Ob-La-Da" is a song by The Beatles from their 1968 album The Beatles (often called "The White Album"). Although credited to Lennon-McCartney, the song was written solely by Paul McCartney. He wrote the piece around the time that highlife and reggae were beginning to become popular in Britain. It was released as a single that same year in many countries, but not in their native United Kingdom, nor in the United States until 1976. This arrangement for brass quintet includes the following parts: Bb Trumpet 1, Bb Trumpet 2, F Horn, Trombone and Tuba. It is suitable for classroom work, repertoire and recitals.
$24.90
22.87 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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The Beatles
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Ob-La-Di, Ob-La-Da for Brass Quintet
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Diego Marani
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SheetMusicPlus
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