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Forte
Concert band
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12 sheet music found
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1
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. 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. Â
$47.95
The Strong
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Concert band
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INTERMEDIATE
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Film/TV
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Ennio Morricone
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Lorenzo Bocci
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The Strong
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Lorenzo Bocci
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1414218 Composed by Ennio Morricone. Arranged by Lorenzo Bocci. Contemporary,Film/TV. 62 pages. Lorenzo...
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Concert Band - Level 3 - Digital Download SKU: A0.1414218 Composed by Ennio Morricone. Arranged by Lorenzo Bocci. Contemporary,Film/TV. 62 pages. Lorenzo Bocci #995989. Published by Lorenzo Bocci (A0.1414218). IL FORTE (The Strong) - From The Good, The Bad And The Uglyfor Concert Band (with Fanfare Band parts) - Grade 3 - Digital Download Composed by Ennio Morricone. Arranged by Lorenzo Bocci. Film/TV. Concert Band - Blasorchester - Harmonie. With Choir (SATB). Score and parts. With Fanfare Band parts. Duration 2'12''. Published by Lorenzo Bocci.Create The Good, The Bad And The Ugly Suite (Il buono, il brutto e il cattivo Suite) with:- Titoli - YouTube ScorePlay - Sheet Music Direct - Sheet Music Plus- Il Forte (The Strong)- The Ecstasy Of Gold - YouTube ScorePlay - Sheet Music PlusInstrumentation:Full Score, Bb Solo Trumpet, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, 4, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Double Bass, Timpani, Snare Drum, Percussion (Tam Tam, Bass Drum), Choir (SATB).Additional Parts:Bb Soprano Saxophone (CB, FA), Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Fanfare Band Parts:Eb Cornet, Bb Flugelhorn 1, 2, 3.The Good, the Bad and the Ugly (Il buono, il brutto e il cattivo) is a 1966 Italian epic spaghetti Western film directed by Sergio Leone and starring Clint Eastwood as the Good, Lee Van Cleef as the Bad, and Eli Wallach as the Ugly. The Good, the Bad and the Ugly was marketed as the third and final installment in the Dollars Trilogy, following A Fistful of Dollars and For a Few Dollars More. The score is composed by frequent Leone collaborator Ennio Morricone. The Good, the Bad and the Ugly broke previous conventions on how the two had previously collaborated. Instead of scoring the film in the post-production stage, they decided to work on the themes together before shooting had started, this was so that the music helped inspire the film instead of the film inspiring the music. Leone even played the music on set and coordinated camera movements to match the music. The main theme, resembling the howling of a coyote, is a two-pitch melody that is a frequent motif, and is used for the three main characters. The main theme, The Good, the Bad and the Ugly, was a hit in 1968 with the soundtrack album on the charts for more than a year.Subscribe to my YouTube Channel to stay updated on new releases.
$89.00
The Star Spangled Banner (Deluxe Score)
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Concert band
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INTERMEDIATE
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Americana
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Patriotic
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Francis Scott Key
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Caleb Swift
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The Star Spangled Banner
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Forte Press
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.924263 Composed by Francis Scott Key. Arranged by Caleb Swift. Folk,Graduation,Holiday,Patriotic. Score...
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Concert Band - Level 3 - Digital Download SKU: A0.924263 Composed by Francis Scott Key. Arranged by Caleb Swift. Folk,Graduation,Holiday,Patriotic. Score and parts. 7 pages. Forte Press #3245663. Published by Forte Press (A0.924263). Pops Standards Academy SeriesPops Standards Academy Series brings ideal performance music to the school and university music ensembles, arranged for students. The National Anthem of the United States has been arranged in almost every mood, range and instrument. This arrangement for school or university band, is ideal for sporting events, military events, etc. The broad and classic arrangement is easy to play, yet still quite colorful and majestic. A fantastic way to start any patriotic event. Performance Time: 1'18Instrumentation: Piccolos, Flutes, Oboes, Bb Clarinets, Bass Clarinet, Alto, Tenor and Baritone Saxes, Trumpets, Horns, Trombones, Euphoniums, Baritone Horn, Tuba, Percussion (Snare, Crash Cymbals, B.D.) Tubular Bells, Glockenspiel
$9.99
The Star Spangled Banner (Score and Parts
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Concert band
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INTERMEDIATE
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Americana
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Patriotic
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Francis Scott Key
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Caleb Swift
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The Star Spangled Banner
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Forte Press
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.924261 Composed by Francis Scott Key. Arranged by Caleb Swift. Folk,Graduation,Holiday,Patriotic. Score...
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Concert Band - Level 3 - Digital Download SKU: A0.924261 Composed by Francis Scott Key. Arranged by Caleb Swift. Folk,Graduation,Holiday,Patriotic. Score and parts. 7 pages. Forte Press #3245667. Published by Forte Press (A0.924261). Pops Standards Academy SeriesPops Standards Academy Series brings ideal performance music to the school and university music ensembles, arranged for students. The National Anthem of the United States has been arranged in almost every mood, range and instrument. This arrangement for school or university band, is ideal for sporting events, military events, etc. The broad and classic arrangement is easy to play, yet still quite colorful and majestic. A fantastic way to start any patriotic event. Performance Time: 1'18Instrumentation: Piccolos, Flutes, Oboes, Bb Clarinets, Bass Clarinet, Alto, Tenor and Baritone Saxes, Trumpets, Horns, Trombones, Euphoniums, Baritone Horn, Tuba, Percussion (Snare, Crash Cymbals, B.D.) Tubular Bells, Glockenspiel.
$25.99
Ode to Joy Beginning Band Skill Builder
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Concert band
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BEGINNER
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Classical
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Ludwig van Beethoven
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A
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Ode to Joy Beginning Band Skil
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Alexandra Hutchison
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SheetMusicPlus
Concert Band - Level 1 - Digital Download SKU: A0.996453 Composed by Ludwig van Beethoven. Arranged by A. Hutchison. Instructional. Score and parts. 11 p...
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Concert Band - Level 1 - Digital Download SKU: A0.996453 Composed by Ludwig van Beethoven. Arranged by A. Hutchison. Instructional. Score and parts. 11 pages. Alexandra Hutchison #4967155. Published by Alexandra Hutchison (A0.996453). This arrangement of variations on 8 bars of Ode to Joy by Beethoven allows teachers to introduce commonly taught beginning band skills (staccato/legato, tongue/slur piano/forte dynamics and tied notes). Introductory drum rudiments are included.
$12.99
Fantasia para Trombone Baixo e Banda Sinfônica
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Concert band
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INTERMEDIATE/ADVANCED
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Eliab Júnior
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Fantasia para Trombone Baixo e
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Eliab Júnior
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1208630 Composed by Eliab Júnior. Contemporary,Contest,Country,Festival,Folk,Singer/Songwriter. Scor...
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Concert Band - Level 4 - Digital Download SKU: A0.1208630 Composed by Eliab Júnior. Contemporary,Contest,Country,Festival,Folk,Singer/Songwriter. Score and Parts. 83 pages. Eliab Júnior #806733. Published by Eliab Júnior (A0.1208630). Obra escrita origianalmente para Orquestra de Cordas mas posteriormente adaptada para Banda Sinfônica, A Fantasia Para Trombone Baixo e Banda Sinfônica De Eliab Júnior, contém trechos desafiadores, melodiosos e marcantes para o Solista e o grupo que o acompanha. Com mudanças de andamentos, compassos e tonalidades, A Fantasia se torna marcante por uma introdução forte acompanhada de uma melodia que se torna presente e é modificada ao longo da peça.
$13.99
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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INTERMEDIATE
#
Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 more 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 which 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 by 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
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Concert band
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EASY
#
Giovanni Gabrieli
#
James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pa...
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Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, 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, 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 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 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 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 more 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. 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 by 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, 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Chopin - Scherzo in E major (Op. 54) for Concert Band
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Concert band
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Classical
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Frederic Chopin
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ForteTwo
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Chopin - Scherzo in E major
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ForteTwo Music
#
SheetMusicPlus
Concert Band - Digital Download SKU: A0.942801 Composed by Frederic Chopin. Arranged by ForteTwo. Romantic Period. Score and parts. 363 pages. ForteTwo M...
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Concert Band - Digital Download SKU: A0.942801 Composed by Frederic Chopin. Arranged by ForteTwo. Romantic Period. Score and parts. 363 pages. ForteTwo Music #3419987. Published by ForteTwo Music (A0.942801). Chopin's last Scherzo, composed in 1842. Adapted for Concert Band by ForteTwo. Piccolo, 2 Flutes, Oboe, 3 Clarinets, Bass Clarinet, Bassoon, 2 Alto Saxes, Tenor Sax, Bari Sax, 3 Trumpets, 4 Horns, 3 Trombones, Bass Trombone, Euphonium (B.C.), Tubas, Bass, Timpani, Glockenspiel. Performance time: 10-12 minutes. .
$15.00
Do You Hear How Many You Are?
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Concert band
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EASY
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Contemporary
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Keane Southard
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Do You Hear How Many You Are?
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Spindrift Pages
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. P...
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Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spindrift Pages (A0.1027468). Do You Hear How Many You Are? for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes Grade 2 -Finalist, 3rd International Frank Ticheli Competition -Premiered April 19 2013 by the Minot State University Symphonic Band, Devin Otto, conductor Website: keanesouthard.instantencore.com.
$85.00
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