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PIANO & KEYBOARDS

Piano solo 46 Easy Piano 16 Organ 9 Piano, Vocal and Guitar 7 Piano, Voice 4

Piano Trio: piano, violin, cello 3 Piano Quartet: piano, violin, viola, cello 3 C Instruments 2 1 Piano, 4 hands 1 Accordion 1 Piano Accompaniment 1

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GUITARS

Guitar notes and tablatures 26 Guitar 13 Mandolin 11 Dulcimer 3 Ukulele 3

3 Guitars (trio) 1 Piano, Guitar (duet) 1 Mandolin, Guitar (duet) 1 2 Guitars (duet) 1

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VOICE

Choral SATB 35 Choral 2-part 7 Choral 3-part 5 Voice solo 4 Choral TTBB 3

Soprano voice, Piano 2 Tenor voice 1 Choral SSAA 1

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WOODWIND

Saxophone ensemble 23 Clarinet and Piano 15 Oboe, Piano (duet) 10 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 9 Saxophone Quintet: 5 Saxophones 8

Flute and Piano 8 Saxophone Quartet: 4 saxophones 6 Clarinet 5 Soprano Saxophone and Piano 5 Alto Saxophone and Piano 5 Clarinet Ensemble 4 Tenor Saxophone and Piano 4 Clarinet Quartet: 4 clarinets 4 Ocarina 2 Flute, Oboe, Clarinet, Bassoon 2 Oboe (band part) 2 Flute (band part) 2 2 Flutes (duet) 2 3 Saxophones (trio) 2 English Horn 1 English horn, Harp (duet) 1 5 Recorders 1 Saxophone 1 Flute 1 Flute ensemble 1 Recorder Quartet 1 Piccolo 1 Baritone Saxophone, Piano 1 Flute Quintet : 5 flutes 1 Flute Quartet: 4 flutes 1

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WOODBRASS

Brass Quintet: 2 trumpets, horn, trombone, tuba 17 Brass Quartet 10 Brass quartet : 2 trumpets, trombone, tuba 7 Trumpet ensemble 6 French horn 5

Trumpet 5 Trumpet, Piano 4 Trombone ensemble 4 French Horn and Piano 4 Trombone and Piano 4 Horn Ensemble 3 Tuba 2 Tuba and Piano 2 English Horn 1 English horn, Harp (duet) 1 Brass Quartet: 2 trumpets, horn, trombone 1 Euphonium, Piano (duet) 1 Trombone 1 Brass Quartet: 4 trombones 1 Trumpet (band part) 1 Tuba and Organ 1 Trombone (band part) 1 2 French horns (duet) 1 3 Trumpets (trio) 1 2 Trombones (duet) 1 2 Tubas (duet) 1

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STRINGS

String Quartet: 2 violins, viola, cello 14 String Trio: violin, viola, cello 13 Viola, Piano 11 Violin and Piano 7 Violin 6

Cello, Piano 6 String Quintet: 2 violins, 2 violas, cello 3 Viola 3 Violin, Guitar (duet) 3 Harp 2 Harp, Flute (duet) 2 Violin, Cello (duet) 2 Cello 2 String Quintet: 2 violins, viola, cello, bass 2 String Trio: 2 violins, cello 1 Viola (band part) 1 Double bass, Piano (duet) 1 Double Bass 1 String Trio: 3 cellos 1 2 Violins (duet) 1 Viola ensemble 1 Violin ensemble 1

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PERCUSSION & ORCHESTRA

Concert band 24 String Orchestra 9 Orchestra 9 Chamber Orchestra 7 Handbells 6 Percussion Ensemble 4

School Ensemble 3 Jazz Ensemble 3 Marching band 1 Drums 1 Brass ensemble 1

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Not A Common Man

Percussion Ensemble

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4 sheet music found

Four Forces (First movement) I. Strong Forces Percussion Ensemble

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…(+)

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo GamÃ³n. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciÃ³nIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.

$300.00 276.57 € #Percussion Ensemble #Salvador Rojo GamÃ³n #Four Forces #Salvador Rojo-Gamon #SheetMusicPlus

Four Forces (Second movement) II. Weak Forces Percussion Ensemble

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…(+)

Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo GamÃ³n. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciÃ³nIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.

$150.00 138.29 € #Percussion Ensemble #Salvador Rojo GamÃ³n #Four Forces #Salvador Rojo-Gamon #SheetMusicPlus

Alexandriana for Percussion Ensemble Percussion Ensemble

Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Hes…(+)

Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. Published by Pharaoh Publications (A0.937755). Alexandriana for percussion ensemble (12 performers) by Dan Heslink The term Alexandriana is popularly used to reference the Great Library of antiquity in Alexandria, Egypt. Rooted in Alexander the Greatâ€™s global military and exploratory exploits (334 - 323 BCE), the library symbolizes the ancient Greek ever expanding worldview, especially under the influence of Alexander and his tutor, Aristotle. Alexander died long before construction of the Ancient Museum and Library of Alexandria, but the concept of a universal library was uniquely his. The mixing of Hellenistic columns with Egyptian architecture and the housing of thousands of scrolls in Greek, Turkish, Babylonian, Egyptian and Hebrew, intensify the division of the library broadly into two large sections, one for eastern knowledge and one for western knowledge. In this musical score, typically western is the thematic concept (expressed most clearly in the chimes), the tonal, triadic-based harmony and sectional concept of form. The musicâ€™s sectional nature parallels the libraryâ€™s different rooms, each containing their own genre of knowledge (history, mathematics, poetry, etc.) Evocative of eastern musical practices are the simultaneous layers of different rhythmic subdivisions, oriental modes, and florid lines in the xylophone and vibe parts. In this score, eastern musical procedures are expressed with instruments commonly found in the Western orchestra or wind band. The performers are encouraged to always emphasize the scoreâ€™s contrasts. Passages for indefinitely pitched percussion featuring the song within the drums contrast with other passages of purely quantitative rhythm. Complexity in the interaction of parts contrast with simple rhythmic unison. Passages of thick harmony contrast with modal monophonic melodies accompanied only by indefinitely pitched sounds. Overall, there is a wide dynamic range. During long passages of gradually accruing energy, take care to not build dynamics too quickly, and during fortissimo passages, drums should be stroked in a manner that avoids excessive aggression. The rhythmic background of 16th notes must be consistent among all players so that interlocking rhythmic motifs are consistent. Often the tom-toms have melodic passages that imitate the shape of mallet or timpani melodies. Tune the drums for a warm, round sound and select mallets accordingly. Bar percussion players should apply a flowing legato to their passage work. Soft sections are intended to sound mysterious: be sure to use mallets that match that character. The composer assigns a performance level of difficult to this work. Performance time is 9:15. The composer, Dan Heslink, can be reached at dan@dheslink.com.

$9.99 9.21 € #Percussion Ensemble #Dan Heslink # #Alexandriana for Percussion Ensemble #Pharaoh Publications #SheetMusicPlus

Two Dreams for solo Trombone and 8-part Percussion Ensemble Percussion Ensemble

Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio…(+)

Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #6549777. Published by Gordon Cherry (A0.811252). Two Dreams for Trombone and Percussion EnsembleDr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some playersâ€™ parts (within the eight total in the percussion ensemble) are indeed easier.The two Movements are approximately five minutes each.The first Movement Bilita Mpash (An Amazing Dream) calls for (1) shekerÃ©/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.Bilita Mpash (An Amazing Dream)The 3-2 Rumba Clave anchors this movement, launched by the shekerÃ©. Rhythmic vamps of multiple bars form the landscape over which the tromboneâ€™s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten2. Running with the TigersThe opening, written-out marimba solo is somewhat of a nod to vibist Gary Burtonâ€™s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionistsâ€™ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.-Antonio J. GarcÃaInstrumentation is for:Solo Trombone and 8-part Percussion Ensemble:shekerÃ©/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.This rhythmic and dramatic work includes improvisation by the Trombonist. Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.

$50.00 46.1 € #Percussion Ensemble #Antonio J #Two Dreams for solo Trombone and 8-part Percussion Ensemble #Gordon Cherry #SheetMusicPlus