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Concert band
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15 sheet music found
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1
Adoration
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.1389361 Composed by Florence Beat…
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Concert Band - Level 2 - Digital Download SKU: A0.1389361 Composed by Florence Beatrice Price. Arranged by John Ivor Holland. 20th Century,Christian,Classical,Multicultural,World. 41 pages. John Ivor Holland #972946. Published by John Ivor Holland (A0.1389361). Born in Little Rock, Arkansas in 1887, Florence Price received early musical training from her mother, going on to study at the prestigious New England Conservatory of Music, graduating in 1906 with a Soloist’s Diploma in Organ Performance, and a Teacher’s Diploma in Piano Performance. After completing her degree, Price returned back to the south to teach music and after about 20 years, moved her family moved to Chicago to ultimately escape the racial tension in the south. It was here that she was able to properly establish herself as a concert pianist, organist and composer. She composed over 300 works, including 20 full orchestral pieces and over 110 art songs, many performed by leading American orchestras and esteemed vocalists. Price was the first African-American woman composer to earn national recognition. Seen as a pioneer among women, she was celebrated constantly for her achievements.Originally, written for organ, 'Adoration' (dating from 1951, just a few years before her death), is one of Florence Price’s best-known works, available in several different versions. Beginning in the 1930s, Price earned a living by playing organ in churches as well as in theatres. Adoration is a work of deep devotion and sincerity, a simple yet beautiful work suitable for church concerts and for remembrance/memorial events.
$39.99
36.87 €
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Concert band
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Florence Beatrice Price
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Adoration
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John Ivor Holland
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SheetMusicPlus
1917: The Halifax Disaster
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenn…
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Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99
21.19 €
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Concert band
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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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
44.21 €
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Concert band
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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jmsgu3
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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
44.21 €
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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
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SheetMusicPlus
America the Beautiful - Concert Band (with Optional Strings) Score and Parts PDF
Concert band
Full Orchestra - Level 2 - Digital Download SKU: A0.750976 Composed by Samuel A. Wa…
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Full Orchestra - Level 2 - Digital Download SKU: A0.750976 Composed by Samuel A. Ward (1848-1903). Arranged by Brendan Elliget MAGA 537. Folk,Patriotic. Score and parts. 38 pages. BJE Music #5793315. Published by BJE Music (A0.750976). America the Beautiful is an American patriotic song. The lyrics were written by Katharine Lee Bates, and the music was composed by church organist and choirmaster Samuel A. Ward at Grace Episcopal Church in Newark, New Jersey. The two never met. Bates originally wrote the words as a poem, Pikes Peak, first published in the Fourth of July edition of the church periodical The Congregationalist in 1895. At that time, the poem was titled America for publication. Ward had originally written the music, Materna, for the hymn O Mother dear, Jerusalem in 1882, though it was not first published until 1892. Ward's music combined with the Bates poem was first published in 1910 and titled America the Beautiful. The song is one of the most popular of the many U.S. patriotic songs. [Wikipedia]It has been arranged here for Concert Band [Key of Bb]. There is also an optional Piano Part (Not shown on the score) and well as Optional String Parts (Not shown on the score) for an orchestral arrangement. There are parts for Descant Trumpet and Horn in F in the last verse (the 3rd verse in the MP3 recording).The MP3 was recorded with NotePerformer 3 - There are 3 verses:1. Clarinets only then Flutes and Saxophones successively added during this 1st verse2. All Brass and Percussion added for the 2nd verse.3. Full Band with the Descant line played by a Solo Trumpet and Solo F Horn in the 3rd verseGrade = 2.5 Duration = 2:28 mins (3 verses)
$25.00
23.05 €
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Concert band
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Samuel A
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America the Beautiful - Concert Band
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BJE Music
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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
44.21 €
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Concert band
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Giovanni Gabrieli
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Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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jmsgu3
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SheetMusicPlus
Hymn tune Aurelia By SS Wesley arr. David Catherwood
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.739438 Composed by SS Wesley. Arr…
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Concert Band - Level 2 - Digital Download SKU: A0.739438 Composed by SS Wesley. Arranged by David Catherwood. Sacred. Score and parts. 16 pages. Opus 3 Music #3664595. Published by Opus 3 Music (A0.739438). Composed by Samuel S. Wesley AURELIA (meaning golden) was published as a setting for Jerusalem the Golden in Selection of Psalms and Hymns, which was compiled in 1864. The tune has remained extremely popular ever since being used for a number of hymns in 7 6 7 6 metre including The Church's one Foundation and O Jesus I have promised, amongst others.This is a simple arrangement of the tune with a short introduction and a coda which will work well to accompany the singing of the hymn or as an instrumental pice for a processional or offertory situation. The generous set of parts makes it ideal for School Orchestra, Church Orchestra, Concert Band, Brass Band or any instrumental quartet.A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion
$9.50
8.76 €
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Concert band
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SS Wesley
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Hymn tune Aurelia By SS Wesley arr. David Catherwood
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Opus 3 Music
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SheetMusicPlus
O Little Town of Bethlehem A flexible ensemble version with easy piano arranged David Catherwood
Concert band
Concert Band - Digital Download SKU: A0.739454 Composed by Traditional. Arranged by…
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Concert Band - Digital Download SKU: A0.739454 Composed by Traditional. Arranged by David Catherwood. Christmas. Score and parts. 8 pages. Opus 3 Music #3879871. Published by Opus 3 Music (A0.739454). O Little Town of Bethlehem  A flexible ensemble version of the popular carol. Easy piano part - the melody line plus just one other note in the right hand combined with just a single note in left hand The full chord symbols are included so that the music may also be useful for more advanced players able to fill out the chords. (This also has the advantage of allowing a guitar to be added if desired) The arrangement is also available on Sheet Music Plus for piano solo Flexible ensemble containing the following parts (making it useful for School and Church ensembles)Melody in C  - Flute, Oboe, ViolinMelody in Bb  - Clarinet, TrumpetHarmony part in C - Flute, Oboe, ViolinHarmony part in Bb  - Clarinet, Trumpet
$7.50
6.91 €
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Concert band
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Traditional
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O Little Town of Bethlehem A flexible ensemble version with easy piano arranged David Catherwood
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Opus 3 Music
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SheetMusicPlus
LEANING ON THE EVERLASTING ARMS
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.1005104 Composed by A.J. Showalte…
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Concert Band - Level 2 - Digital Download SKU: A0.1005104 Composed by A.J. Showalter. Arranged by Ron Flintjer. Contemporary. Score and parts. 25 pages. Ron Flintjer #5044359. Published by Ron Flintjer (A0.1005104). Of all church hymns, a longstanding classic is the upbeat, Leaning on the Everlasting Arms by A.J. Showalter. Written all the way back in 1887, I can still hear the choir and congregation belting out this wonderful hymn, while the piano and organ accompany them at full force. This arrangement for elementary band begins with the verse in a very laid-back, cantabile style. The chorus then joins in, led by snare drums in a stirring march style. Great moving lower brass lead all to a big broad ending. This piece is a perennial audience favorite, and one your group will enjoy performing time and again.All parts are written within the range of young elementary grade musicians. To produce a full sound, many instruments double other instruments, i.e. Eb sax and French horn, low brass and tenor sax, flute and oboe.Includes: Full score, flute, oboe, bells, Bb clarinet, Eb alto sax, tenor sax, (baritone horn), bass clarinet, French horn, Bb cornet, trombone (baritone horn), tuba, percussion.Should you have any questions, feel free to contact the composer ronflintjer@gmail.com
$16.00
14.75 €
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Concert band
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A
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LEANING ON THE EVERLASTING ARMS
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Ron Flintjer
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SheetMusicPlus
Kittatinny Ridge Suite
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1121338 Composed by Nathaniel Hon…
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Concert Band - Level 4 - Digital Download SKU: A0.1121338 Composed by Nathaniel Hontz. Classical,Contemporary,Sacred. Score and parts. 129 pages. TigerSong LLC #722510. Published by TigerSong LLC (A0.1121338). Kittatinny Ridge Suite is composed of three movements: I. On the Delaware at Carpenter's Point, II. The Fields of Walpack at Dusk, and III. Yellow Frame's Harvest Home. The suite is a musical landscape of different points along the Kittatinny mountain ridge in western Sussex County, New Jersey. I. On the Delaware at Carpenter's Point explores a kayaking trip at the very northern point of New Jersey. From the river one can see the High Point monument, the highest point in the state, as one crosses under bridges, passes islands, and speeds through small rapids. II. The Fields of Walpack at Dusk paints the tiny, rural township of Walpack, with its quiet fields and forests. The central theme is In Babilone: an old Dutch melody, echoing the regions colonial-era settlers. III. Yellow Frame's Harvest Home is a fantasy on Come, Ye Thankful People, Come, illustrating the late summer community dinner, Harvest Home run by the Yellow Frame Presbyterian Church, of Fredon township. Other hymn tunes surface in the piece, including May the Lord Mighty God and St. Anne (the colonial-era psalm tune for O God our Help in Ages Past).
$49.99
46.09 €
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Concert band
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Nathaniel Hontz
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Kittatinny Ridge Suite
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TigerSong LLC
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SheetMusicPlus
Accentus
Concert band
Concert Band - Digital Download SKU: IZ.CBW221 Composed by Gary Gazlay. Score and P…
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Concert Band - Digital Download SKU: IZ.CBW221 Composed by Gary Gazlay. Score and Parts. 61 pages. Imagine Music - Digital #CBW221. Published by Imagine Music - Digital (IZ.CBW221). 9 x 12 inches.Some years back, during a series of retreats, prayerful reflection on the “servantpassages from the book of the prophet Isaiah (Is. 40-53) coalesced into what wouldbecome an eight-movement cantata entitled: The Servant of Yahweh.“How Beautiful on the Mountain represents movement three of that larger work - aLenten cantata highlighting key aspects of the life, death, and resurrection of Jesus,viewed through the lens of the aforementioned servant passages.“How Beautiful on the Mountain (from Is.52 ff) attempts to capture in two sections thejoyful vision of God's people being led back to Zion from exile in Babylon. Israel'sdeliverer is near, proclaiming peace, bearing good news, announcing salvation, leadingIsrael back to Jerusalem. The New Testament likewise speaks of deliverance frombondage – bondage from sin, and healing of the breach between God and humanity. It isthrough the passion, death, and resurrection of Jesus that this deliverance isaccomplished. In both cases, there is cause for great joy.Musically, movement from the more subdued preface (part 1) to the festive Latin groove(part 2) conveys the transition from journey to jubilation.The present rendition, written for SATB choir and piano with optional flute and oboemarks the latest evolution in the work's arrangement history. The originalaccompaniment included guitar, bass, drum, flute and electric violin. However, in 2009,through a collaboration with bassist/arranger, Perry Orfanella, a full orchestral score wasdeveloped. Most recently, in order to make the piece more accessible to church choirsand other choral groups, Phil Sims (musician/arranger and partner of Imagine MusicPublishing) reduced the orchestral score and completed the present arrangement forpiano and SATB choir.
$50.00
46.1 €
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Concert band
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Gary Gazlay
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Accentus
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Imagine Music - Digital
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SheetMusicPlus
Easter Songs
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1171177 Composed by Multiple and …
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Concert Band - Level 4 - Digital Download SKU: A0.1171177 Composed by Multiple and Traditional. Arranged by John K. Evans. Christian,Easter,Praise & Worship,Religious,Spiritual. 172 pages. John K. Evans #771516. Published by John K. Evans (A0.1171177). Easter Songs is a medley of 6 well known hymns traditionally sung at Easter church services and community events. Arrangement contains I Love to Tell the Story (Hankey/Fischer), And Can It Be (Wesley/Campbell), At the Cross (Watts/Hudson), The Old Rugged Cross (Bennard), Were You There (Traditional), and Christ Arose (Lowry). Download includes 1 Score, 1 Timpani, 1 Chime, 6 Flutes, 4 Alto Sax, 4 Tenor Sax, 3 Tuba and 2 of all other parts. Baritone TC included. Duration is 7:35. Grade 3.
$85.00
78.36 €
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Concert band
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Multiple and Traditional
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Easter Songs
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John K. Evans
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SheetMusicPlus
Revelations 5 (Mvt. II)
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1024060 Composed by John Dorhauer…
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Concert Band - Level 4 - Digital Download SKU: A0.1024060 Composed by John Dorhauer. 20th Century,Contemporary. Score and Parts. 126 pages. John J Dorhauer #59173. Published by John J Dorhauer (A0.1024060). Back to School 2015 This standalone movement balances chaotic, breakneck ensemble writing with placid, luscious quieter moments. Inspired by the fifth chapter of the Book of Revelation, the music vividly depicts the duality of the lion/lamb character (hence the plurality of the title), and the ample use of mixed meter and solo opportunities (particularly for flute and percussion) will offer an engaging challenge to most high school ensembles. Although this is the middle movement of a three-movement work, it works in its own self-contained world. Contact information: johnjdorhauer@gmail.com PRO: ASCAP Social Media: https://www.facebook.com/JohnDorhauer?fref=ts / https://twitter.com/JohnDorhauer Duration: 9 minutes Year of Release: 2011 Program Notes: This composition is intended to function on two different levels: it is simultaneously a programmatic depiction of the events that unfold in Revelation 5 and a musical representation of the duality found in the scripture. It was this sense of duality that persuaded me to keep the s at the end of Revelation in the title – it is as if there are multiple revelations to be found within both the scripture and my musical interpretation of it. In the book of Revelation, the prophet John is sharing an apocalyptic vision to a group of churches in Asia as a means of hope – even though these people were being persecuted for their beliefs, John promises the rapture in which God will save the believers and destroy the nonbelievers. The fifth chapter begins with John’s ascension to heaven, and it concludes just before the Christ-like Lion of Judah breaks the seals of the scroll that will unleash the rapture. While this is intended to be a message of hope, it will also bring about cataclysmic death and destruction. Herein lies the duality – how can a message of hope come as the result of such a violent outcome? Movement II (of three) corresponds with only verse 6, and it is more of a character study than a programmatic narrative. It examines the Lion of Judah character, which is portrayed at first as an overwhelming and aggressive figure after it approaches from the distance in the hazy beginning section. This character is also depicted in the scripture as a lamb, though, and this is reflected in the piece’s latter half, which is a softer reimagining of the Lion character’s material. The Lion and the Lamb are not two different characters but, rather, different sides of the same character. It is this duality that drives the movement, and it explains the connections between these otherwise distinct sections. This movement was originally performed by the CCPA Wind Ensemble in April 2010 when it received first place in CCPA’s wind ensemble composition contest.
$50.00
46.1 €
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Concert band
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John Dorhauer
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Revelations 5
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John J Dorhauer
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SheetMusicPlus
DO LORD
Concert band
Concert Band - Level 1 - Digital Download SKU: A0.1005117 Composed by Folk Song. Ar…
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Concert Band - Level 1 - Digital Download SKU: A0.1005117 Composed by Folk Song. Arranged by Ron Flintjer. Christian,Spiritual. Score and parts. 27 pages. Ron Flintjer #6016057. Published by Ron Flintjer (A0.1005117). << Do Lord is a fun, evocative piece written for elementary school band. From the beginning strains of the Hallelujah Chorus, this composition will open the memory gates back to the years when gospel music reigned supreme in many of our churches. If you listen closely, you might even hear echoes of the Battle Hymn of the Republic! Be ready for your audience to spontaneously clap their hands in time with the melody, as that old time religion feeling sweeps your venue. All parts are written within the range of young elementary grade musicians. To produce a full sound, many instruments double other instruments, i.e. Eb sax and French horn, low brass and tenor sax, flute and oboe.
$15.00
13.83 €
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Concert band
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Folk Song
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DO LORD
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Ron Flintjer
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SheetMusicPlus
Beati Quorum Via
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.939467 Composed by Charles Villie…
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Concert Band - Level 2 - Digital Download SKU: A0.939467 Composed by Charles Villiers Stanford. Arranged by David Hawkins. Romantic Period,Sacred. Score and parts. 30 pages. David Hawkins #3035299. Published by David Hawkins (A0.939467). This transcription of a Latin motet would work well as a warmup. The notes are easy but the lines are hard. This encourages listening between sections. As a 6-part motet, every part is doubled by another part of the band.Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Irish composer, music teacher, and conductor. He composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. Beati quorum via (Blessed are those whose way), Op. 38, No. 3, is a motet for mixed unaccompanied six-part choir by Charles Villiers Stanford, a setting of the first verse of Psalm 119 in Latin. It is the last of Stanford's Three Latin Motets, published in 1905.Stanford composed it at the end of the 19th century when he was a teacher at the Royal College of Music in London. Paul J. Rodmell wrote in his review of R. J. Stowe's book Stanford education: his finest unaccompanied motets, such as Beati quorum via, attain neo-Brucknerian sublimity, comparing Stanford's work to that of Hubert Parry and Anton Bruckner.
$49.99
46.09 €
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Concert band
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Charles Villiers Stanford
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Beati Quorum Via
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David Hawkins
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SheetMusicPlus
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