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Gai Sever
Concert band
Sheetmusic to print
13 sheet music found
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1
Tannhauser March
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Concert band
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INTERMEDIATE/ADVANCED
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Richard Wagner
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Yves Bouillot
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Tannhauser March
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Yves Bouillot
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1512818 Composed by Richard Wagner. Arranged by Yves Bouillot. 19th Century,Opera. 137 pages. Yves Boui...
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Concert Band - Level 4 - Digital Download SKU: A0.1512818 Composed by Richard Wagner. Arranged by Yves Bouillot. 19th Century,Opera. 137 pages. Yves Bouillot #1087775. Published by Yves Bouillot (A0.1512818). Tannhaüser was first performed on October 19, 1845 in Dresden under the direction of Wagner, who was then 32 years old. Wagner revised the libretto and the score several times. Tannhäuser, a knight who fled the Wartburg, stayed there for a while, then grew tired of this world where everything is sensual and decided to leave against the will of the goddess. He woke up in the countryside near the Wartburg, greeted with joy by the count and his knights, happy to see their old companion again. It is this entrance of the guests that is proposed here. Difficult - Grade 4.5/5This version requires a large orchestra to achieve its best effect. Choir ad lib.
$60.00
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00
Kotetsu Jeeg No Uta
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Concert band
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INTERMEDIATE
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Film/TV
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Ichiro Mizuki
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Michiaki Watanabe, Haruo Hayas
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Lorenzo Bocci
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Kotetsu Jeeg No Uta
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Lorenzo Bocci
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1342594 By Ichiro Mizuki. By Haruo Hayashi and Michiaki Watanabe (pka Chuumei Watanabe). Arranged by Lo...
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Concert Band - Level 3 - Digital Download SKU: A0.1342594 By Ichiro Mizuki. By Haruo Hayashi and Michiaki Watanabe (pka Chuumei Watanabe). Arranged by Lorenzo Bocci. Film/TV. 100 pages. Lorenzo Bocci #928094. Published by Lorenzo Bocci (A0.1342594). KOTETSU JEEG NO UTA (Jeeg Robot)for Concert Band - Grade 3 - Digital Download Composed by Michiaki Watanabe, Haruo Hayashi. Arranged by Lorenzo Bocci. Cartoons/Anime/Jazz. Concert Band - Blasorchester - Harmonie. Score and parts. Duration 3'00''. Published by Lorenzo Bocci.Instrumentation:Full Score, 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, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Electric Bass, Drum Set, Timpani, Electric Guitar, Piano.Additional Parts:Bb Soprano Saxophone, 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.Steel Jeeg , also known as Kotetsu Jeeg, is a Japanese mecha anime series created by manga artists Go Nagai and Tatsuya Yasuda and produced by Toei Doga (now Toei Animation), directed by Masayuki Akehi. It was first broadcast on NET in Japan from October 5, 1975, to August 29, 1976, lasting for 46 episodes. Steel Jeeg also ran as a manga in several children's publications, with the original manga was first serialized in Kodansha's TV Magazine from August 1975 to June 1976. The original theme song was written by Chumei Watanabe (Michiaki Watanabe) and the lyrics by Hayashi Haruo. The song was sung by IchirŠMizuki, a famous and prolific Japanese singer, lyricist, composer, actor and voice actor, known for his work on theme songs, anime and tokusatsu.
$99.00
Bush Ballad
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Concert band
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INTERMEDIATE/ADVANCED
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Margaret Ada Sutherland
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John Ivor Holland
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Bush Ballad
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1408466 Composed by Margaret Ada Sutherland. Arranged by John Ivor Holland. 20th Century,Classical,Folk...
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Concert Band - Level 4 - Digital Download SKU: A0.1408466 Composed by Margaret Ada Sutherland. Arranged by John Ivor Holland. 20th Century,Classical,Folk. 84 pages. John Ivor Holland #991057. Published by John Ivor Holland (A0.1408466). Margaret Sutherland was one of the most innovative and influential Australian composers. In the first half of the twentieth century, her desire to be both serious composer and mother was atypical, and she faced significant challenges – public and private – in blending these roles. Against the backdrop of an unhappy and unsupportive marriage and a society not yet ready to accept her creative ambitions and strong views on Australia’s musical development, she remained admirably steadfast in pursuing her goals. Sutherland created over two hundred compositions, ceaselessly campaigned on behalf of Australian music and musicians, and led the initial push to construct what is now Arts Centre Melbourne. In her attempts to redefine beauty in music she used idiosyncratic musical language, being at the mercy of ‘sound pictures’ and ‘floating ideas’. Not much is known about this particular piece, 'Bush Ballad', save that its opening folk-like melody and sinewy variations on it are rather wonderful and very indicative of Sutherland's style - certain portions of the score seemed to be missing, and there were several handwritten corrections, so a certain amount of reconstruction and editing has been necessary to present this arrangement for full band.
$59.99
Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band Version Score and Parts PD
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Concert band
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INTERMEDIATE
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Contemporary
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Brendan Elliget MAGA 537
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Shades of Eltham
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750863 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 123 pages. BJE Music #43198...
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Concert Band - Level 3 - Digital Download SKU: A0.750863 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 123 pages. BJE Music #4319867. Published by BJE Music (A0.750863). Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band VersionDedicated to Ern and Beattie Shade for their contribution to the Eltham Concert Band. The title of this piece is a play on words, of course, indicating both the Shades themselves and the various shades or moods of the music or even perhaps, the shady bushland setting of the area itself. I composed this piece with a few simple ideas in mind. The letters E and A in the word Eltham suggested to me an interval of a fourth, or the other way around, an interval of a fifth – which are both used in many of entries of the themes and musical motifs throughout the work – especially the brass. There are several variations and counter melodies within the work: a bright two-four march-like theme, probably the Main theme, and a variation of this theme in slower three-four time in a minor key with two counter melodies - representing a gentler contrasting mood. On occasions, two or even three themes play simultaneously. A bridging passage in four-four occurs about the two thirds into the composition leading up to a restatement of the main theme. The final climax or Coda actually has both three four melody against the two-four one resolving in the last few bars in a dramatic way.I hope you enjoy my musical tribute to the Shades. The MP3 was recorded with NotePerformer.Now available as an orchestral arrangement as well. See Related Scores.
$30.00
On the Mercurial Tides (for Steelpan and Wind Ensemble)
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Concert band
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INTERMEDIATE
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Contemporary
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Aaron Gage
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On the Mercurial Tides
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Aaron Gage
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1006560 Composed by Aaron Gage. Contemporary. Score and Parts. 205 pages. Aaron Gage #5222861. Publishe...
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Concert Band - Level 3 - Digital Download SKU: A0.1006560 Composed by Aaron Gage. Contemporary. Score and Parts. 205 pages. Aaron Gage #5222861. Published by Aaron Gage (A0.1006560). On the Mercurial Tides is a new work for wind ensemble featuring a solo steelpan. The work embellishes the relationship that the steelpan has against a large wind ensemble. While the pan part is intended to be virtuosic in nature, the wind ensemble in many ways takes a background of several simplistic canonic themes that develop throughout the piece. Included with this purchase is the full score, a piano reduction, and every individual ensemble part. .
$75.00
Our Flirtations
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Concert band
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INTERMEDIATE/ADVANCED
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John Philip Sousa
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Wesley Besancon
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Our Flirtations
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts...
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Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation†is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.†Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.
$14.99
Journey of Peril
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Concert band
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INTERMEDIATE
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S
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#
Journey of Peril
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S.R.T. Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.931881 Composed by S.R. Thomas. Standards. Score and parts. 42 pages. S.R.T. Music #5362001. Published ...
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Concert Band - Level 3 - Digital Download SKU: A0.931881 Composed by S.R. Thomas. Standards. Score and parts. 42 pages. S.R.T. Music #5362001. Published by S.R.T. Music (A0.931881). Journey of Peril is a composition for emerging ensemble performing at an intermediate instrumental level. This composition moves several times between concert Eb Major and c minor allowing the ensemble timely experience in the two different tonalities. This is written with various repetitious sections which allows for quick rehearsal time and successful and performance. Again, this is interesting and playable music for young and emerging wind/percussion ensembles.
$24.95
The Privateers
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Concert band
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INTERMEDIATE
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Craig Wadley
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The Privateers
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Wadley Publications
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.983162 Composed by Craig Wadley. Concert,Contemporary,Standards. Score and parts. 102 pages. Wadley Pub...
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Concert Band - Level 3 - Digital Download SKU: A0.983162 Composed by Craig Wadley. Concert,Contemporary,Standards. Score and parts. 102 pages. Wadley Publications #3043809. Published by Wadley Publications (A0.983162). The Privateers is a swashbuckling depiction of an oceangoing pirate adventure, presented in the form of a march. The piece starts with a brief fanfare, followed immediately by a rousing melody in the style of an old sea-shanty. Images of sailing upon an endless sea of stars come to mind as a tranquil nocturne is presented, but the peace is shattered as cutlasses and sabers clash in a dogfight sure to end in Davy Jones’ locker! The music swells to a dramatic conclusion as our mighty galleon surges across a stormy sea. Instrumentation The Privateers comes with full sets of both concert/stage and marching/field parts, allowing for great flexibility in your performance venues. Contemporary marching bands and drum & bugle corps utilize specialized field percussion which is typically not used in a concert setting. With this piece, the use of outdoor percussion (quad toms and a tonal bass drum line) onstage is encouraged, although not required. A single bass drum line is included which may be used instead of (or in addition to) the tonal bass drum line, and the Quad Toms part may be omitted. A piano part is included, primarily for optional use indoors as a color instrument for the ensemble. However, smaller bands in particular may find it useful for filling out the accompaniment line if instrumentation is limited. Optionally, a very small ensemble of melodic instruments could be used, with the piano acting as a full-fledged accompaniment. Several optional parts are included, such as Eb and Bb Horn, for ensembles with limited instrumentation. Also, the two Low Winds parts should be distributed equally across trombone, baritone/euphonium, and tenor sax players. Double reed parts are not included. Double these instruments on appropriate parts to suit the needs of your ensemble. Teaching Points Meter – The alternation of 6/8 and 4/4 with a constant pulse (rather than a constant 8th note) provides an excellent opportunity to teach your students to shift the subdivision of the beat from triple to duple and back again. Chromaticism & Accidentals – There is a recurring passage which features the prominent use of secondary dominants, or circle of fifths chord motion. Students can learn a few less-than-common accidentals and enharmonics, while also getting a larger lesson in music theory.
$24.99
Donut Etudes vol. 3: Don’t Step in the Holes! – Band
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Concert band
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INTERMEDIATE
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Instructional
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Joshua Hauser
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Donut Etudes vol. 3: Don’t S
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Slide Ride
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.784346 Composed by Joshua Hauser. Instructional. Score and parts. 507 pages. Slide Ride #5288703. Publi...
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Concert Band - Level 3 - Digital Download SKU: A0.784346 Composed by Joshua Hauser. Instructional. Score and parts. 507 pages. Slide Ride #5288703. Published by Slide Ride (A0.784346). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$45.00
Killarney Carnivale
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Concert band
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INTERMEDIATE/ADVANCED
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John P
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Killarney Carnivale
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John P.W. Hudson #872903.
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1281978 Composed by John P.W. Hudson. 20th Century,Contest,Festival. Score and Parts. 90 pages. 'Publis...
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Concert Band - Level 4 - Digital Download SKU: A0.1281978 Composed by John P.W. Hudson. 20th Century,Contest,Festival. Score and Parts. 90 pages. 'Published by John P.W. Hudson #872903. Published by 'Published by John P.W. Hudson (A0.1281978). Premiered June 6th, 2023 by the Killarney Senior Wind Ensemble and Alumni directed by Meagan Lawson, 'Killarney Carnivale' is a programmatic piece describing a small town carnival in rural Manitoba in the early 1930's, spotlighting the family of the town dentist, Dr. Martin McLaren, his wife Irene, and their six girls. 'Killarney Carnivale' describes a fictitious event, but the family is that of the composer, John Hudson. His mother, (second in a family of six girls), as a young teen in Killarney Manitoba, loved playing piano and aspired to be a concert pianist playing her favourite composers in concert halls. Her dreams took a different turn when the family had to move west for Dr. McLaren's health, but she carried with her the melodies she composed and later played to her own children.Picture John Hudson listening to hours of his mother playing piano as a young boy in the early 1950's, immersed in his mother's beautiful music. After her passing in 2010, he longed to hear these beautiful, playful melodies again. His sister Jane Keyes had become a professional piano player and happily took up the task of recreating several of their mother's pieces, which John, now a retired band director, began to transcribe. Inspired by a photograph of the family that very much looked like a carnival booth style photograph, 'Killarney Carnivale' came to life. It opens as the youngest, probably under age two at the time, wakes up. The scene swiftly changes to arrival at the much - anticipated carnival, with all of its magical sights, sounds and heavenly smells of popcorn and treats. First is the carousel, with wooden horses flying about in endless circles with children regaling with laughter.The next is a sideshow tent featuring the exotic dancer Salome, who wiled King Herod, (and probably more than a few in the audience) as her thin, tantalizing veils hinted at her charms.The next tent is dim and displays the wierd and mysterious curiosities from around the world like bearded ladies, dwarfs and the like.The cakewalk is next, with children vying to be the last person sitting as chairs are removed and the music abruptly stops each time. (This section could host a real cakewalk with a few chairs and willing audience participation. Three chairs is suggested.)Finally, the exhausted family drives home in their antique (to us) automobile with the childrens' hair flying in the breeze.One by one, the excited children fall prey to dreamland, and at long last, the exhausted parents flop into bed too.Honouring his mother's short pieces has been a life long dream of Mr. Hudson, and to hear them played by the Killarney Wind Ensemble and Alumni Band was a poignant moment: the return of these melodies to the little town where they first came to life. Many, many thanks to Meagan Lawson, their director, and all of the members of the Killarney band who so very willingly took up the challenge of playing 'Killarney Carnivale'. Their hard work and dedication to this piece is deeply, deeply appreciated.
$60.00
Silvertube Variations
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Concert band
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INTERMEDIATE/ADVANCED
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Samuel Livingston
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some are quiet and tranquil
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Silvertube Variations
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 4 - Digital Download SKU: IZ.CBW195 Composed by Samuel Livingston. Score and Parts. 81 pages. Imagine Music - Digital #CBW195. Publi...
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Concert band - Grade 4 - Digital Download SKU: IZ.CBW195 Composed by Samuel Livingston. Score and Parts. 81 pages. Imagine Music - Digital #CBW195. Published by Imagine Music - Digital (IZ.CBW195). 9 x 12 in inches.Silvertube Variations is a set of variations for concert band with flute solo. (The title refers to the solo flute.) The music is consistently melodic, with harmonies that are modal and consonant. The piece begins with a simple, folk-like theme, played by the solo flute, alone. The theme is then repeated in the full band, with a chord progression that is not as simple as the tune seems to imply. The piece continues with several variations on that chord progression. Some variations feature the soloist, some feature specific sections of the band, and some use all the resources of the full band. Some variations are brisk and playful; some are quiet and tranquil; some are expansive and forceful. In the final variation, the full band builds toward a climax, and then, just before the final chord, stops abruptly. After a moment of silence, the solo flute, again playing alone, reprises the theme, and a quiet two-bar coda in the woodwinds and horns ends the piece.
$80.00
Silvertube Variations
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Concert band
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INTERMEDIATE/ADVANCED
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Samuel Livingston
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some are quiet and tranquil
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Silvertube Variations
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 4 - Digital Download SKU: IZ.CBW195-S Composed by Samuel Livingston. Score. 25 pages. Imagine Music - Digital #CBW195-S. Published b...
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Concert band - Grade 4 - Digital Download SKU: IZ.CBW195-S Composed by Samuel Livingston. Score. 25 pages. Imagine Music - Digital #CBW195-S. Published by Imagine Music - Digital (IZ.CBW195-S). 9 x 12 in inches.Silvertube Variations is a set of variations for concert band with flute solo. (The title refers to the solo flute.) The music is consistently melodic, with harmonies that are modal and consonant. The piece begins with a simple, folk-like theme, played by the solo flute, alone. The theme is then repeated in the full band, with a chord progression that is not as simple as the tune seems to imply. The piece continues with several variations on that chord progression. Some variations feature the soloist, some feature specific sections of the band, and some use all the resources of the full band. Some variations are brisk and playful; some are quiet and tranquil; some are expansive and forceful. In the final variation, the full band builds toward a climax, and then, just before the final chord, stops abruptly. After a moment of silence, the solo flute, again playing alone, reprises the theme, and a quiet two-bar coda in the woodwinds and horns ends the piece.
$80.00
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