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Music Dialogue
Concert band
Sheetmusic to print
14 sheet music found
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1
March and Caprice
Concert band
Concert band - Grade 4 - Digital Download SKU: IZ.CBS1510-S Composed by Daniel Elde…
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Concert band - Grade 4 - Digital Download SKU: IZ.CBS1510-S Composed by Daniel Elder. Score. 17 pages. Duration 2 minutes, 30 seconds. Imagine Music - Digital #CBS1510-S. Published by Imagine Music - Digital (IZ.CBS1510-S). 9 x 12 in inches.March and Caprice is an arrangement based on a juxtaposition of two sea shanties, What Shall We Do with theDrunken Sailor? and Spanish Ladies. It combines these into an aesthetically exciting and technicallychallenging piece that showcases the agility of the modern concert band. It is designed to be part of a set with itscomplementary arrangements Fanfare and Dance, a setting of two Irish folksongs, and Chorale and Intermezzo, anexploration into two early American tunes. This work features a lively dialogue between the pointillistic and lyricalnatures of these two shanties. It may be programmed alongside its two counterpart arrangements or performedseparately to equal effect. Performance length: ca. 2'30.
$10.00
9.24 €
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Concert band
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Daniel Elder
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March and Caprice
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Imagine Music - Digital
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SheetMusicPlus
March and Caprice
Concert band
Concert band - Grade 4 - Digital Download SKU: IZ.CBS1510 Composed by Daniel Elder.…
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Concert band - Grade 4 - Digital Download SKU: IZ.CBS1510 Composed by Daniel Elder. Score and Parts. 71 pages. Duration 2 minutes, 30 seconds. Imagine Music - Digital #CBS1510. Published by Imagine Music - Digital (IZ.CBS1510). 9 x 12 in inches.March and Caprice is an arrangement based on a juxtaposition of two sea shanties, What Shall We Do with theDrunken Sailor? and Spanish Ladies. It combines these into an aesthetically exciting and technicallychallenging piece that showcases the agility of the modern concert band. It is designed to be part of a set with itscomplementary arrangements Fanfare and Dance, a setting of two Irish folksongs, and Chorale and Intermezzo, anexploration into two early American tunes. This work features a lively dialogue between the pointillistic and lyricalnatures of these two shanties. It may be programmed alongside its two counterpart arrangements or performedseparately to equal effect. Performance length: ca. 2'30.
$80.00
73.9 €
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Concert band
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Daniel Elder
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March and Caprice
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Imagine Music - Digital
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SheetMusicPlus
Atlantis
Concert band
Concert Band - Grade 2 - Digital Download SKU: B0.PDF-BAND-37 Composed by Tom Tucke…
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Concert Band - Grade 2 - Digital Download SKU: B0.PDF-BAND-37 Composed by Tom Tucker. Atlantis is a compelling choice for Grade 2 level band students. Multicultural. Score and Parts. 60 pages. PDF Band Music #PDF-BAND-37. Published by PDF Band Music (B0.PDF-BAND-37). 8.5 x 11 inches.Embark on a mystical journey to the mythical island nation Atlantis which is mentioned in Plato’s dialogues “Timaeus and “Critias, . A somber stunning opening sets the stage as the main melody for the entire work surfaces before the fast pulsating dance-like section takes over.  Atlantis will make a delightful concert program number and can be also used in the contest setting.
$38.70
35.75 €
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Concert band
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Tom Tucker
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Atlantis
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PDF Band Music
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arra…
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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
44.3 €
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Concert band
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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jmsgu3
#
SheetMusicPlus
Douglas E. Wagner: Dialogues - concert band (full score)
Concert band
Instantly printable sheet music by Douglas E. Wagner for concert band (full score) of VERY…
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Instantly printable sheet music by Douglas E. Wagner for concert band (full score) of VERY EASY skill level. / instructional,children
$7.99
7.38 €
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Concert band
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Douglas E. Wagner
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Virtualsheetmusic
Douglas E. Wagner: Dialogues (COMPLETE) - concert band
Concert band
Instantly printable sheet music by Douglas E. Wagner for concert band of VERY EASY skill l…
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Instantly printable sheet music by Douglas E. Wagner for concert band of VERY EASY skill level. / instructional,children
$59.99
55.42 €
#
Concert band
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Douglas E. Wagner
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Virtualsheetmusic
Dialogues: Score
Concert band
By Douglas E. Wagner. For Concert Band. Instructional. Score. 12 pages. Published by Alfre…
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By Douglas E. Wagner. For Concert Band. Instructional. Score. 12 pages. Published by Alfred Music. Digital Sheet Music
$8.00
7.39 €
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Concert band
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Douglas E
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Dialogues: Score
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Alfred Music. Digital Sheet Music
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arra…
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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
44.3 €
#
Concert band
#
Gabrieli
#
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabri…
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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
44.3 €
#
Concert band
#
Giovanni Gabrieli
#
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Tik, Tik, Tik, Tik, Tik, Tik
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.1455063 Composed by Joseph Hasper…
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Concert Band - Level 3 - Digital Download SKU: A0.1455063 Composed by Joseph Hasper. 21st Century,Classical,Contemporary,Contest,Festival. 26 pages. Joseph Hasper #1034135. Published by Joseph Hasper (A0.1455063). Twelve short movements for wind ensemble by Joseph Hasper composed in 2024. Program notes: Tik, Tik, Tik, Tik, Tik, Tik the rich tapestry of harmonic possibilities across all twelve keys. Each movement is a concise musical vignette, delving into the unique character and mood of its respective key while reflecting a post-modern approach that embraces eclecticism, irony, and an intertextual dialogue with past musical traditions. This work is deeply influenced by the innovative spirit of Leonard Bernstein and Charles Ives, two iconic American composers who challenged conventional musical boundaries. Bernstein's ability to seamlessly blend diverse musical genres, from classical to jazz, resonates in the stylistic pluralism of this piece. Each movement offers a distinct musical landscape, reminiscent of Bernstein's kaleidoscopic score for West Side Story, where classical and contemporary idioms collide and coalesce into a vibrant sonic tapestry. Echoes of Charles Ives can be heard in the fragmented, juxtaposed themes and the adventurous harmonic language that defies traditional expectations. Like Ives' Three Places in New England, this composition revels in the collision of disparate musical elements, creating a rich tapestry that reflects the complexity and plurality of the modern musical landscape. Ives’ technique of layering different melodies and harmonies simultaneously is reflected in several movements where multiple key centers overlap, creating a soundscape that is at once disorienting and captivating. Tik, Tik, Tik, Tik, Tik, Tik invites listeners to experience a post-modern journey through sound, where each movement stands as an independent piece, yet contributes to a greater whole. The brevity of each segment—each capturing a distinct emotional and harmonic essence—echoes the concept of musical snapshots, offering a fleeting yet profound exploration of the vast possibilities within the twelve keys. This work is not merely a cycle through the keys, but a commentary on the diversity and potential of musical expression in the post-modern era.
$39.00
36.03 €
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Concert band
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Joseph Hasper
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Tik, Tik, Tik, Tik, Tik, Tik
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Joseph Hasper
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SheetMusicPlus
Concerto for Concert Band (2011) full score
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Le…
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Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pages. Thomas Oboe Lee #1934325. Published by Thomas Oboe Lee (A0.869220). Program note. Concerto for Concert Band is in four movements, played without pause. The first movement begins with a percussion fanfare that leads into woodwind melodies coupled with the euphonium. Then the percussion takes over again, with a timpani solo feature. The second movement is a dialogue between the clarinet and brass choirs. As the choir masses become more dense, a plaintive solo oboe emerges from the din … molto cantabile!!! The third movement is a scherzo featuring the trumpets and the woodwinds. The percussion section joins in with outbursts and commentaries … The brass choir returns in the last movement with more melodies emanating from the woodwinds. The work ends in quiet tranquility … molto cantabile again!!! The work is dedicated to the effervescent Bill Drury who conducts the wind ensembles at the New England Conservatory of Music. I was very grateful to Bill when he asked me to write something for him and the Jordan Winds at NEC. It is a huge challenge to compose music for large wind groups. I find most concert band pieces too thick and mucky in texture. The trick is to create concert band music that is light and transparent; to orchestrate in such a way that you can see/hear light seeping through. I hope I was able to do that. Enjoy!! Instrumentation: 3 Flutes (Fl. 3 also doubles on piccolo) 2 Oboes 2 Bassoons Clarinet in Eb 3 Clarinets in Bb 2 Bass Clarinets in Bb 4 French Horns 3 Trumpets in Bb (also doubling on Flugelhorns in Bb) 3 Trombones Euphonium Tuba Timpani Marimba Percussion 1: snare drum, 3 tom-toms Percussion 2: triangle, 2 bass drums This is a transposed score.
$9.99
9.23 €
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Concert band
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Thomas Oboe Lee
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Concerto for Concert Band
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Thomas Oboe Lee
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SheetMusicPlus
Mother Goose Suite (score only, 11" x 17" format)
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.932827 Composed by Maurice Ravel …
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Concert Band - Level 4 - Digital Download SKU: A0.932827 Composed by Maurice Ravel (1875-1937). Arranged by Keith Michael Davis. 20th Century,Children. Score and parts. 45 pages. Komodo Music #6530195. Published by Komodo Music (A0.932827). Ravel's enchanting masterpiece, transcribed for symphonic band or wind ensemble in a brand new edition for SMP Press! The entire suite has been lovingly and painstakingly recast for winds and percussion, with an emphasis on transparent textures and colorful scoring. Included are: the pensive Pavane for the Sleeping Princess in the Woods, Little Tom Thumb, the exotic Oriental-flavored Laidonnerette (Little Ugly), Princess of the Pagodas, the charming waltz Dialogue Between Beauty and the Beast, and the ravishingly beautiful finale, The Fairy Garden. Long a favorite with orchestras and audiences, Ravel's Mother Goose Suite's introduction to wind band audiences is long overdue! Score only, parts available separately.
$40.00
36.95 €
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Concert band
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Maurice Ravel
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Mother Goose Suite
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Komodo Music
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SheetMusicPlus
Catching Fireflies
Concert band
Concert Band - Digital Download SKU: IZ.HAS03-S Composed by Daniel Burwasser. Score…
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Concert Band - Digital Download SKU: IZ.HAS03-S Composed by Daniel Burwasser. Score. 31 pages. Imagine Music - Digital #HAS03-S. Published by Imagine Music - Digital (IZ.HAS03-S). Sometimes the composer may point us to the meaning of a piece, without actually providing it. Says Daniel Burwasser: “Catching Fireflies is an ode to the tender memories and joys of childhood. The thematic material and structure of the work reflects the immediacy and innocent fascination of a time when everything is new and exciting, and something as simple as the flashing of a firefly can capture the imagination. The opening indeed creates visions of sprightly fireflies. An animated seven-note figure, first introduced by the strings then taken up by the brass and woodwinds, suggests a dazzling nocturnal scene of children scurrying after the elusive insects. The theme rapidly transmogrifies, aided by echoing dialogues between instruments as well as abrupt percussive effects. Then, a placid lyrical interlude begins with contemplative strains. Have the catchers settled back to view the stars? Like youth itself, the segment doesn’t last and is pushed aside by a subdued version of the lead theme. This time, a lyrical melody pro- vides a whiff of melancholia, but one limned by kaleidoscopic xylophone notes. Then, a longer adagio theme develops, and while it reflects the original lyrical interlude, it soon assumes a nostalgic aura reminiscent of fifties film music. Perhaps it evokes the romantic theme from an old movie the composer attended as a youth. But the night is not over and as the tempo increases, the brass sounds a variation of the opening melody, there is a brief parenthesis of calm, then a crashing tutti puts an end to the evening activities.
$20.00
18.48 €
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Concert band
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Daniel Burwasser
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Catching Fireflies
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Imagine Music - Digital
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SheetMusicPlus
Proezas da Julinha - Schottisch for Concert Band
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.946717 Composed by Thiago Osorio.…
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Concert Band - Level 3 - Digital Download SKU: A0.946717 Composed by Thiago Osorio. Children,Concert,Standards,World. Score and parts. 51 pages. Thiago Osorio Music #6504243. Published by Thiago Osorio Music (A0.946717). ''Proezas da Julinha'' (in english: Little Julia feats'') is a schottisch made in July 2019 at Chapada dos Veadeiros in Goiás, originally for mandolin in honor of my daughter who was one year and four months old, portraying her games with crystals at Cachoeira São Félix. On December 18, 2020 I made this arrangement for Concert Band, keeping the lightness of the piece, with its fun themes being exposed as dialogues between the suits.
$20.00
18.48 €
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Concert band
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Thiago Osorio
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Proezas da Julinha - Schottisch for Concert Band
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Thiago Osorio Music
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SheetMusicPlus
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