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Sun\'s on It\'s Way
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Sun\'s on It\'s Way
Concert band
Sheetmusic to print
16 sheet music found
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1
Chorale on Friedman's Shalom Aleichem
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Concert band
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INTERMEDIATE
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the time Debbie Friedman died
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Dan Dickerman
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Chorale on Friedman's Shalom A
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True Indie Media
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1031499 Composed by Dan Dickerman. Contemporary,Jewish. Score and parts. 44 pages. True Indie Media #34...
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Concert Band - Level 3 - Digital Download SKU: A0.1031499 Composed by Dan Dickerman. Contemporary,Jewish. Score and parts. 44 pages. True Indie Media #3424827. Published by True Indie Media (A0.1031499). Bringing folk melodies into modern repertoire has a long tradition, with many iconic works simultaneously celebrating and preserving melodies which might otherwise have been lost to history. Here we have the opportunity to celebrate and preserve a melody just as it starts to find its way in the musical world. By the time Debbie Friedman died in January 2011, just shy of her 60th birthday, she had created a large collection of music loved throughout the world’s Jewish community. She embodied the idea that each generation has a responsibility to contribute to the canon of sacred music, and her settings of liturgical texts have been sung regularly for decades. Her setting of Mi Shebeirach, the prayer for healing, is likely her most familiar tune, but Shalom Aleichem is a beautiful capstone to her legacy. It was in an early stage at the time of her death, having shared the melody among a few groups. This melody has since been sung worldwide, beginning with Friedman’s own memorial and the following Sabbath of Song (Shabbat Shira), and it has begun to take its rightful place in the liturgical canon. The music here is ordered as it would be sung: starting with a presentation of the chorus theme by clarinets in SATB choir voicing, with more of the band joining-in with each repetition of the theme or chorus. The melody and countermelodies move among the different sections until the full band has taken up the tune while the euphonium, horn, and clarinet weave a contrapuntal line through it. Slowly, the joy of the full band is stripped away, exposing the more solemn sound of a brass choir, juxtaposing the joy brought to so many by Ms. Friedman during her life with a quiet reflection at its end.Â
$54.00
Sunshine On My Shoulders
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Concert band
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INTERMEDIATE
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Rock
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John Denver
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Brendan Elliget MAGA 537
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Sunshine On My Shoulders
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.751041 By John Denver. By Dick Kniss, John Denver, and Mike Taylor. Arranged by Brendan Elliget MAGA 53...
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Concert Band - Level 3 - Digital Download SKU: A0.751041 By John Denver. By Dick Kniss, John Denver, and Mike Taylor. Arranged by Brendan Elliget MAGA 537. Rock. Score and parts. 36 pages. BJE Music #6487663. Published by BJE Music (A0.751041). Sunshine On My Shoulders – Concert Band Sunshine on my shoulders makes me happy Sunshine in my eyes can make me cry Sunshine on the water looks so lovely Sunshine almost always makes me high Sunshine on My Shoulders (sometimes titled simply Sunshine) is a song recorded and co-written by American singer-songwriter John Denver. It was originally released as an album track on 1971's Poems, Prayers & Promises and later, as a single in 1973. Denver wrote this song on an early spring day in Minnesota when the rain was gently falling. He found himself looking forward to spending more time outdoors and enjoying the sunshine. He said of the song, On one level it was about the virtues of love. On another, more deeply felt level, it reached for something the whole world could embrace. This is an arrangement for Concert Band with an optional Piano part...Grade = 3 Duration = 2:45 mins The MP3 and Video audio was recorded with NotePerformer 3. Copyright © 1971; Renewed 1999 BMG Ruby Songs, My Pop's Songs, Dino Park Publishing, Jesse Belle Denver and Reservoir Media Music in the U.S. All Rights for BMG Ruby Songs Administered by BMG Rights Management (US) LLC All Rights for My Pop's Songs and Dino Park Publishing Administered by Kobalt Songs Music Publishing All Rights for Jesse Belle Denver Administered by WB Music Corp. All Rights for Reservoir Media Music Administered by Reservoir Media Management, Inc. (Publishing) and Alfred Music (Print) All Rights Reserved Used by Permission
$49.99
Let The Sunshine In
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Concert band
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INTERMEDIATE
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The Fifth Dimension
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Benoit BARRAIL
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Let The Sunshine In
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Benoît Barrail
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1309819 By The Fifth Dimension. By Galt Macdermot, Gerome Ragni, and James Rado. Arranged by Benoit BAR...
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Concert Band - Level 3 - Digital Download SKU: A0.1309819 By The Fifth Dimension. By Galt Macdermot, Gerome Ragni, and James Rado. Arranged by Benoit BARRAIL. 20th Century,Broadway,Musical/Show,Pop,Rock. 55 pages. Benoît Barrail #898965. Published by Benoît Barrail (A0.1309819). All parts of the choir are doubled in the instrumental parts. French lyrics. Hair is a rock musical by James Rado and Gerome Ragni (lyrics) and Galt MacDermot (music) created off-Broadway, in a cellar in Greenwich Village, in October 1967 and then played on Broadway at the Public Theater from April 1968 for four years without interruption. The New York Times said: It's finally the first musical that speaks to today. A product of the hippie counterculture and sexual revolution of the 1960s, some of his songs, inspired by New Age theory, became anthems of the peace movements against the Vietnam War. After a first export to London, the French version was created in Paris at the Théâtre de la Porte-Saint-Martin on May 30, 1969, its naked scenes causing a real scandal. The song Laissez entrer le soleil (Let the sunshine in) was performed by Julien Clerc during this French creation.Toutes les parties de chœur sont doublées à l’orchestre. Paroles françaises. Hair est une comédie musicale rock de James Rado et Gerome Ragni (paroles) et de Galt MacDermot (musique) créée «off-Broadway», dans une cave de Greenwich village, en octobre 1967 puis jouée à Broadway au Public Theater à partir d'avril 1968 pendant quatre ans sans interruption. Le New-York Times dit: « C'est enfin la première comédie musicale qui parle d'aujourd'hui ». Produit de la contre-culture hippie et de la révolution sexuelle des années 1960, certaines de ses chansons, inspirées de la théorie du New Age, sont devenues des hymnes des mouvements pacifistes contre la guerre du Viêt Nam. Après une première exportation à Londres, la version française est créée à Paris au théâtre de la Porte-Saint-Martin le 30 mai 1969, ses scènes dénudées provoquent un véritable scandale. La Chanson Laissez entrer le soleil fut interprétée par Julien Clerc lors de cette création française.
$54.99
March Slav (Concert Band Transcription) - Tsarist Edition
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Concert band
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Classical
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Peter Ilyich Tchaikovsky
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Marc Oliver
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March Slav
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.733069 Composed by Peter Ilyich Tchaikovsky. Arranged by Marc Oliver. Romantic Period. Score and parts. 179 pages...
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Concert Band - Digital Download SKU: A0.733069 Composed by Peter Ilyich Tchaikovsky. Arranged by Marc Oliver. Romantic Period. Score and parts. 179 pages. Ayotte Custom Musical Engravings #2968245. Published by Ayotte Custom Musical Engravings (A0.733069). Tchaikovsky referred to the piece as his Serbo-Russian March while writing it. It was premiered in Moscow on November 17 1876, conducted by Nikolai Rubinstein. The march is highly programmatic in its form and organization. The first section describes the oppression of the Serbs by the Turkish. It uses two Serbian folk songs, Sunce jarko, ne sijaš jednako (Bright sun, you do not shine equally), by Isidor Ćirić and Rado ide Srbin u vojnike (Gladly does the Serb become a soldier), by Josip Runjanin - giving way to the second section in the relative major key, which describes the Russians rallying to help the Serbs. This is based on a simple melody with the character of a rustic dance which is passed around the orchestra until finally it gives way to a solemn statement of the Russian national anthem God Save the Tsar. The third section of the piece is a repeat of Tchaikovsky's furious orchestral climax, reiterating the Serbian cry for help. The final section describes the Russian volunteers marching to assist the Serbs. It uses a Russian tune, this time in the tonic major key and includes another blazing rendition of God Save the Tsar prophesying the triumph of the Slavonic people over tyranny. The overture finishes with a virtuoso coda for the full orchestra. The piece shares a few refrains with the 1812 Overture, with which it is frequently paired in performance. This is the Tsarist (i.e., non-Soviet) Version.
$100.00
In Your Slumber
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Concert band
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BEGINNER
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Aaron Fonzi
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In Your Slumber
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Aaron Fonzi
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SheetMusicPlus
Concert Band - Level 1 - Digital Download SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron...
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Concert Band - Level 1 - Digital Download SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971. Published by Aaron Fonzi (A0.998359). This lyrical piece is a delightful way to introduce your young band to ballad style. Exploring slurs, accents, dynamics, caesuras, ritardandos and more, you'll be shocked by how sophisticated this beautiful piece sounds while using only a limited number of notes. Written to convey the playful innocence of a child dreaming, In Your Slumber balances the calm of a starry sky with the imagination and adventure of a child's mind at rest. Simple and elegant, the lullaby played by the flutes in the beginning gives way to an imaginative variation on the theme by the trumpets and clarinets at B. Gentle, pulsating tenutos in the harmonizing chords underneath are symbolic of relaxed, rhythmic breathing underlying the musical thoughts flowing by above them. Just as in dreams we seldom have control of which direction the story may go, D takes us somewhere else musically and implies a build to a false climax. At E, we are greeted with the quiet sounds of the night once more, but this time our imagination runs wild as the music builds to the climax of the piece at F. This powerful proclamation of the melody is concluded with a gentle final statement in the flute and clarinet, and the piece concludes with the final twinkle of the stars as the sun rises for a new day.Full of imagination, beauty and teachable moments throughout, I hope that you and your students can enjoy and appreciate this piece for it's simple beauty as I do. Onward!~Aaron FonziREHEARSAL NOTES:1. The clarinet part should be a very light drone creating atmosphere at the beginning- the same goes for the clarinet and saxophone at rehearsal E.2. It's easy to get too loud too soon in this piece, so remind your students to have patience. F is the climax of the piece, but many young students will want to play C as if it is. Similarly, be sure to balance the trumpet/ clarinet and the flute/ oboe/ bells at C so both lines come out evenly.3. Take your time in measure 48- we want to naturally fade away and pause before going on at rehearsal E. This increase and decrease in energy is a characterization of the ebb and flow of the piece.4. At F, there are 3 important parts that must be balanced: flute/oboe/bells; trumpet/clarinet; alto saxophone/horn. For best results, balance these 3 parts, and encourage the alto/horn line to play out a bit more than they think they need to. They are the new part which must be heard here.5. Have fun and use your imagination in terms of expressing the music- ask your students what it makes them think of and create a story to go along with it. Let this ultimately guide your interpretation. I am consistently impressed with the creative ideas my students come up with, so let them decide how the music should sound with their own stories. In your slumber, anything is possible!
$15.00
Pitt Street Bridge - for Concert Band
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Concert band
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EASY
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John McAllister
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Pitt Street Bridge - for Conce
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John McAllister
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.778226 Composed by John McAllister. Contemporary,Folk,Instructional,Standards. Score and parts. 52 page...
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Concert Band - Level 2 - Digital Download SKU: A0.778226 Composed by John McAllister. Contemporary,Folk,Instructional,Standards. Score and parts. 52 pages. John McAllister #6665567. Published by John McAllister (A0.778226). Pitt Street Bridge was commissioned by the Moultrie Middle School Band to be premiered at the 2020 SCMEA Conference. The remains of the Pitt Street Bridge lie in the Intercoastal Waterway and in what is now called Pickett Bridge Recreation Area. It is within walking distance from the middle school, and it is an integral part of Mt. Pleasant’s history. Originally designed as a trolley bridge that connected Sullivan’s Island and Mount Pleasant, Pitt Street Bridge is now a haven for recreation and relaxation. The lively melodies throughout the piece depict the festive activities that take place on Pitt Street Bridge. The piece opens as though one is standing on the Pitt Street Bridge, gazing out at the immensely beautiful surroundings. Slow and serene as the sun blankets the harbor and the marsh. The bridge has a tremendous history, dating back to the revolutionary war, which is where the melody begins. Deconstructed from part of Sir Peter Parker, a song about the Battle of Sullivan’s Island. A distant memory, this melody will find itself in many ways throughout (three notes rising diatonically followed by a falling 3rd). The woodwinds pattern in the opening (which also appears throughout), represents the ripples in the water, flowing gently back and forth. The military past of the bridge is hinted at in two ways. The snare in the opening, reminiscent of the rudimental style and several harmonies throughout that hint at an Americana style. As the piece picks up tempo, the hustle and bustle of 1920s Charleston comes to life. Harmonically, everything is still built off of the foundation of the original tune, but now we’re in bright and joyous times and people are transported to and from the island in the Roarin’ 20s. The optimism abounds until the climax of the piece as the bridge (musically speaking), fades into the past. At the finale, one is standing on the bridge with the distant melody still played on the flute.
$40.00
Book Of Days
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Concert band
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EASY
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Enya
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John Ivor Holland
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Book Of Days
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1296034 By Enya. By Enya and Nicky Ryan. Arranged by John Ivor Holland. 20th Century,Film/TV,Folk,New A...
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Concert Band - Level 2 - Digital Download SKU: A0.1296034 By Enya. By Enya and Nicky Ryan. Arranged by John Ivor Holland. 20th Century,Film/TV,Folk,New Age,Pop. Score and Parts. 44 pages. John Ivor Holland #886304. Published by John Ivor Holland (A0.1296034). Book of Days is taken from Enya's 1991 album, 'Shepherd Moons', is originally sung in Irish Gaelic. It was re-recorded bilingually for Ron Howard's film Far and Away, and scenes from the film feature in the promotional music video. The song became Enya's second top-ten single on the UK Singles Chart, peaking at number 10, and reached number 12 on the Irish Singles Chart. If you notice a smiliarity between this and James Horner's 'Southampton' from the TITANIC soundtrack, it's because Book of Days was used as a temporary track whilst editing that film - the driving, undulating rhythms are perfect to provide a dramatic moment in any concert, particularly of film music and this arrangement has been made as part of a project to help expand and diversify the repertoire of pieces by women for concert bands around the world.
$49.99
Accentus
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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
Concert Band - Digital Download SKU: IZ.CBW221-S Composed by Gary Gazlay. Score. 16 pages. Imagine Music - Digital #CBW221-S. Published by Imagine Music ...
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Concert Band - Digital Download SKU: IZ.CBW221-S Composed by Gary Gazlay. Score. 16 pages. Imagine Music - Digital #CBW221-S. Published by Imagine Music - Digital (IZ.CBW221-S). 8.5 x 11 inches.This chorus is a setting of a sonnet from an 1874 collection by Henry Wadsworth Longfellow (1807–1882). It vividly describes the appearance of The Galaxy (The Milky Way) with a stream of images: “Torrent of light, the “river of the air whose bed of “glimmering stars appear “Like gold and silver sands in some ravine / Where mountain streams have left their channels bare! Before sharing his poetic opinion of just what The Galaxy is, Longfellow dismisses the view of the eleventh-century Spaniard, who sees it as “the pathway for Santiago Matamoros* to “descend…in celestial armor to save the Christians from the Muslim Moors. Nor does he endorse the ancient Greek view that The Galaxy amounts to a sky “scorched [by] the hoofs of Phaeton's§ horses, when he almost set the world on fire by driving his sun chariot too close to the earth.Ultimately Longfellow sees The Galaxy as “the white drift of worlds o'er chasms of sable, / The star-dust…whirled a loft…From the invisible chariot-wheels of God.The music reflects many of the poem's images, for example: women's voices alone at “gold and silver sands; an open fifth at “channels bare; a quicker tempo at the militant reference to the Spaniard; longer notes at “heav'ns were fair; fugato entrances and a faster tempo at “hot coursers trod; upward spiraling sixteenth notes at “stardust that is whirled aloft; and a climax followed by a softening uncharacteristic chord progression at “invisible chariot-wheels of God.
$8.00
Laissez Entrer Le Soleil
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Concert band
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INTERMEDIATE
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Arthur Mac Dermot, Bertrand Ca
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Benoit BARRAIL
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Laissez Entrer Le Soleil
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Benoît Barrail
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1309797 Composed by Arthur Mac Dermot, Bertrand Castelli, Gerome Ragni, Jacques Lanzman, and James Rado...
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Concert Band - Level 3 - Digital Download SKU: A0.1309797 Composed by Arthur Mac Dermot, Bertrand Castelli, Gerome Ragni, Jacques Lanzman, and James Rado. Arranged by Benoit BARRAIL. 20th Century,Broadway,Musical/Show,Pop,Rock. 55 pages. Benoît Barrail #898963. Published by Benoît Barrail (A0.1309797). For 2-part choir and concert bandAll parts of the choir are doubled in the instrumental parts. Hair is a rock musical by James Rado and Gerome Ragni (lyrics) and Galt MacDermot (music) created off-Broadway, in a cellar in Greenwich Village, in October 1967 and then played on Broadway at the Public Theater from April 1968 for four years without interruption. The New York Times said: It's finally the first musical that speaks to today. A product of the hippie counterculture and sexual revolution of the 1960s, some of his songs, inspired by New Age theory, became anthems of the peace movements against the Vietnam War. After a first export to London, the French version was created in Paris at the Théâtre de la Porte-Saint-Martin on May 30, 1969, its naked scenes causing a real scandal. The song Laissez entrer le soleil (Let the sunshine in) was performed by Julien Clerc during this French creation.Toutes les parties de chœur sont doublées à l’orchestre. Hair est une comédie musicale rock de James Rado et Gerome Ragni (paroles) et de Galt MacDermot (musique) créée «off-Broadway», dans une cave de Greenwich village, en octobre 1967 puis jouée à Broadway au Public Theater à partir d'avril 1968 pendant quatre ans sans interruption. Le New-York Times dit: « C'est enfin la première comédie musicale qui parle d'aujourd'hui ». Produit de la contre-culture hippie et de la révolution sexuelle des années 1960, certaines de ses chansons, inspirées de la théorie du New Age, sont devenues des hymnes des mouvements pacifistes contre la guerre du Viêt Nam. Après une première exportation à Londres, la version française est créée à Paris au théâtre de la Porte-Saint-Martin le 30 mai 1969, ses scènes dénudées provoquent un véritable scandale. La Chanson Laissez entrer le soleil fut interprétée par Julien Clerc lors de cette création française.
$54.99
Gimme! Gimme! Gimme! (A Man After Midnight)
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Concert band
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INTERMEDIATE
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ABBA
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Benny Andersson, Bjorn Ulvaeus
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Lorenzo Bocci
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Gimme! Gimme! Gimme!
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Lorenzo Bocci
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1402940 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Lorenzo Bocci. Broadway,Film/TV,Musi...
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Concert Band - Level 3 - Digital Download SKU: A0.1402940 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Lorenzo Bocci. Broadway,Film/TV,Musical/Show,Pop,Rock. 137 pages. Lorenzo Bocci #986159. Published by Lorenzo Bocci (A0.1402940). Gimme! Gimme! Gimme! (A Man After Midnight) Performed by ABBAfor Concert Band (with simplified parts) - Grade 3 - Digital Download Composed by Benny Andersson, Bjorn Ulvaeus. Arranged by Lorenzo Bocci. Pop/Rock/Musical/Film. Concert Band - Blasorchester - Harmonie. Score and parts. With simplified parts. Duration 4'54''. 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, Percussion (Shaker, Tambourine), Electric Guitar, Keyboard.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.Simplified Parts:Flute 1, 2, Oboe, Eb Clarinet, Bb Clarinet 1, 2, 3, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Keyboard, Bb Soprano Saxophone.Gimme! Gimme! Gimme! (A Man After Midnight) is a song by Swedish band ABBA, was written by Benny Andersson and Björn Ulvaeus, sung mainly by Agnetha Fältskog and sometimes accompanied by Anni-Frid Lyngstad. It was recorded in August 1979 in order to help promote their North American and European tour of that year, and was released on ABBA's Greatest Hits Vol. 2 album (1979) and in the very successful ABBA Gold.Subscribe to my YouTube Channel to stay updated on new releases.
$89.00
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Concert band
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EASY
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pa...
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Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Themes from the Beach for Concert Band
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Concert band
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Contemporary
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Peter Westin
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Themes from the Beach for Conc
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Peter's Publishing House
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.1011707 Composed by Peter Westin. Contemporary. Score and parts. 49 pages. Peter's Publishing House #3448275. Pub...
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Concert Band - Digital Download SKU: A0.1011707 Composed by Peter Westin. Contemporary. Score and parts. 49 pages. Peter's Publishing House #3448275. Published by Peter's Publishing House (A0.1011707). Themes from the Beach is a multi movement composition released in 2017 that captures wonderful scenes while hanging out on the Beach. The First Movement, Atmospheres, is a beautiful tranquil setting in the key of C major while the beauty portrays the humidity. The opener contains an A minor to a C7 Chord progression followed by the main theme as a way to express the breeze blowing around you.The Second Movement, is a dance like movement of the scene while people are strolling in Paradise. The Key signature contrast is from D minor to D major and then to D minor once again. The last two movements are in the Key of F major. The third movement displays of what it is like to chill out in the sunlight. This deeply moving ballad is so beautiful and will portray the longest movement of the piece. The last and fourth movement is a 6/8 Dance of getting yourself exposed to the sunlight. This score contains 49 pages and is 20 minutes long in 4 separate movements.
$50.00
Western Legends
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Concert band
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EASY
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Judith Katz
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Western Legends
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 2 - Digital Download SKU: IZ.CBW1811-S Composed by Judith Katz. Score. 17 pages. Imagine Music - Digital #CBW1811-S. Published by Im...
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Concert band - Grade 2 - Digital Download SKU: IZ.CBW1811-S Composed by Judith Katz. Score. 17 pages. Imagine Music - Digital #CBW1811-S. Published by Imagine Music - Digital (IZ.CBW1811-S). 9 x 12 in inches.Since the earliest days of cinema, music has played a vital role in helping people understand both, the mood and the plot. Whether it was the movie house pianist, in the case of silent films, or the composer of a full score, the musician could, cleverly, portray characters with their individual themes, or leit motifs. The development of the theater organ came about to provide music and sound effects for the first three decades of the 20th Century. The tradition of iconic music themes carried well into radio, television, and in more modern times, video games.Growing up in New York City, I was able to view more than my fair-share of both movie house westerns, as well as TV shows. Saturday mornings were filled with Lone Ranger, Cisco Kid, and Hopalong Cassidy episodes with their own themes. The bad guy had his theme, as well as the good guy. You cheered, or you booed to the one you connected with. Big screen westerns almost always had their theme songs, and almost always sung by Frankie Laine.Western Legends is an homage to the radio, television, and film composers whose scores will always be etched on my mind.
$10.00
My Funny Valentine
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Concert band
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INTERMEDIATE
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Hart & Rodgers
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John Ivor Holland
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My Funny Valentine
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1445548 By Hart & Rodgers. By Lorenz Hart and Richard Rodgers. Arranged by John Ivor Holland. 20th Cent...
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Concert Band - Level 3 - Digital Download SKU: A0.1445548 By Hart & Rodgers. By Lorenz Hart and Richard Rodgers. Arranged by John Ivor Holland. 20th Century,Broadway,Jazz,Latin,Musical/Show,Pop. 48 pages. John Ivor Holland #1025388. Published by John Ivor Holland (A0.1445548). My Funny Valentine was written for the 1937 Richard Rodgers and Lorenz Hart coming of age musical 'Babes in Arms'. The song became a popular jazz standard, appearing on over 1300 albums performed by over 600 artists. One of them was Chet Baker, for whom it became his signature song; in 2015 the Gerry Mulligan quartet's 1953 version of the song (featuring Chet Baker) was inducted into the Library of Congress's National Recording Registry for its cultural, artistic and/or historical significance to American society and the nation’s audio legacy. The description of the male character of Valentine in the show was consistent with Lorenz Hart's own insecurities and belief that he was too short and ugly to be loved; consequently, the lyrics are sufficiently gender-neutral to allow the song to be sung about a person of any gender. This concert band arrangement has been produced from the jazz ensemble version by Michael Sweeney, created in 1988.
$49.99
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