Download Digital Sheet Music of The Church for Concert band

The Church
Concert band

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…(+)

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 € #Concert band #Samuel A #America the Beautiful - Concert Band #BJE Music #SheetMusicPlus

"Elsa's Procession to the Cathedral" from "Lohengrin" for Concert Band Concert band

Concert Band - Digital Download SKU: A0.935510 Composed by Richard Wagner (1813-188…(+)

Concert Band - Digital Download SKU: A0.935510 Composed by Richard Wagner (1813-1883). Arranged by Kazys DaugÄ—la. Romantic Period,Wedding. Score and parts. 14 pages. Kazys Daugela #6685623. Published by Kazys Daugela (A0.935510). Elsa's Procession to the Cathedral arranged for concert band (Grade 4) by Kazys DaugÄ—la comes originally from the second act, scene 4 of Richard Wagnerâ€™s famous romantic opera Lohengrin. This solemn and stately music accompanies the wedding procession that carries Elsa, a princess in Brabant (Antwerp), and her rescuer and hero to the church. Wagner himself recommended this music as an addition to the band repertoire.
$10.00 9.22 € #Concert band #Richard Wagner #"Elsa's Procession to the Cathedral" from "Lohengrin" for Concert Band #Kazys Daugela #SheetMusicPlus

"Elsa's Procession to the Cathedral" from "Lohengrin" for Concert Band Concert band

Concert Band - Level 4 - Digital Download SKU: A0.935509 Composed by Richard Wagner…(+)

Concert Band - Level 4 - Digital Download SKU: A0.935509 Composed by Richard Wagner (1813-1883). Arranged by Kazys DaugÄ—la. Romantic Period,Wedding. Score and parts. 110 pages. Kazys Daugela #6685619. Published by Kazys Daugela (A0.935509). Elsa's Procession to the Cathedral arranged for concert band (Grade 4) by Kazys DaugÄ—la comes originally from the second act, scene 4 of Richard Wagnerâ€™s famous romantic opera Lohengrin. This solemn and stately music accompanies the wedding procession that carries Elsa, a princess in Brabant (Antwerp), and her rescuer and hero to the church. Wagner himself recommended this music as an addition to the band repertoire.
$60.00 55.31 € #Concert band #Richard Wagner #"Elsa's Procession to the Cathedral" from "Lohengrin" for Concert Band #Kazys Daugela #SheetMusicPlus

Ain't No Rest For The Wicked Concert band

Concert Band - Level 4 - Digital Download SKU: A0.1235771 By Cage The Elephant. By …(+)

Concert Band - Level 4 - Digital Download SKU: A0.1235771 By Cage The Elephant. By Daniel Tichenor, Donald Schultz, Jared Champion, Lincoln Parish, and Matthew Schultz. Arranged by Jeffrey Bowen. Contest,Festival,Pop,Rock. Score and Parts. 44 pages. Music Arrangement Services Inc. #831282. Published by Music Arrangement Services Inc. (A0.1235771). Performed by Cage The Elephant. Â This Concert Band Scores accompanies the SATB/Piano Score with parts for 2 Trumpets, Trombone, Alto Sax, Tenor Sax, Baritone Sax, Synth, Guitar, Bass, Drums and Percussion. . Â This song is about no rest for the wicked (or eternal work for evil doers). Â The song refers to money not growing on trees, working unethically to make money, making a living any way possible, a girl offering company, a man attempting to rob, a preacher robbing from the church. Â This arrangement includes a dance break and is designed for high school or college show choir, concert choir or community choir. SATB/Piano Score also available. Performance time is approximately 3:00.
$49.99 46.08 € #Concert band #Cage The Elephant #Ain't No Rest For The Wicked #Music Arrangement Services Inc. #SheetMusicPlus

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. 1Â PiccoloAtÂ leastÂ 2Â flutes,Â clarinets, altoÂ &Â tenorÂ saxesAtÂ leastÂ 1Â bassÂ clarinetAtÂ leastÂ Â 2Â trumpets,Â horns,Â trombonesÂ &Â tubas4Â 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo. Â

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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™s later motets Sacrae SymphoniaeÂ (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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

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 â€“ or was the first to indicate them, such as in his Sonata Pianâ€™ 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. Gabrieliâ€™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 â€“ called Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.