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PIANO & KEYBOARDS

Piano, Vocal and Guitar 345 Piano solo 91 Piano, Voice 60 Easy Piano 21 Organ 7

C Instruments 5 2 Pianos, 4 hands 2 Piano Trio: piano, violin, cello 2 Harpsichord 1 Piano (band part) 1 Piano Quartet: piano, 2 violins, cello 1

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GUITARS

Guitar 15 Guitar notes and tablatures 9 2 Guitars (duet) 3 Guitar Ensemble 1 Mandolin 1

4 Guitars (Quartet) 1 Bass guitar 1

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VOICE

Choral SATB 69 Choral TTBB 13 Choral 3-part 12 Vocal duet 4 Choral SSAA 4

Choral 2-part 3 Soprano voice, Piano 3 High voice 2 Choral Unison 2 Tenor voice 1 Voice solo 1 Low voice 1 Alto voice, Piano 1 Low voice, Piano 1 Choral SSATTB 1

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WOODWIND

Saxophone Quintet: 5 Saxophones 85 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 62 Saxophone ensemble 32 Clarinet Ensemble 25 Flute, Oboe, Clarinet, Bassoon 15

Flute Quintet : 5 flutes 14 2 Flutes (duet) 13 Flute 11 Flute and Piano 10 Oboe, Piano (duet) 8 Flute ensemble 6 Clarinet Quartet: 4 clarinets 6 Saxophone Quartet: 4 saxophones 6 Tenor Saxophone 5 Oboe (band part) 4 Alto Saxophone and Piano 4 English horn, Piano 3 Baritone Saxophone, Piano 3 Bass Clarinet, Piano 3 Flute and Guitar 3 Tenor Saxophone and Piano 3 Soprano Saxophone and Piano 3 Clarinet 3 Clarinet and Piano 3 Flute Trio: 3 flutes 2 Saxophone 2 Oboe, Clarinet, Bassoon (trio) 1 Flute, harp and violin 1 Flute, Oboe, Bassoon 1 2 Clarinets (duet) 1 Treble (Alto) Recorder 1 Alto Saxophone 1 English Horn, Guitar (duet) 1 Flute, Oboe (duet) 1 Flute, Clarinet and Bassoon. 1 Clarinet Quintet: 5 clarinets 1

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WOODBRASS

Brass quartet : 2 trumpets, trombone, tuba 64 Brass Quintet: 2 trumpets, horn, trombone, tuba 59 Trumpet ensemble 49 Trombone ensemble 35 Brass Quartet: 2 trumpets, horn, trombone 9 Brass Quartet: 4 trombones 8 Trumpet 8 Trumpet, Trombone (duet) 5 Trombone and Piano 5 Euphonium, Piano (duet) 5 English horn, Piano 3 Brass Quartet: 4 trumpets 2 Brass Trio 2 3 Trumpets (trio) 2 French Horn and Piano 2 Trombone 2

2 Trumpets (duet) 1 Brass Quartet: 4 horns 1 Tuba ensemble 1 English Horn, Guitar (duet) 1 Horn Ensemble 1 Trumpet (band part) 1 Euphonium 1 Tuba 1 Brass Quartet: 2 trumpets, 2 trombones 1 French horn 1

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STRINGS

String Quartet: 2 violins, viola, cello 169 Violin, Cello (duet) 143 Violin 122 String Trio: violin, viola, cello 120 String Quintet: 2 violins, viola, cello, bass 27

Violin ensemble 16 Violin and Piano 14 Viola ensemble 14 Violin, Viola (duet) 7 2 Cellos (duet) 6 Viola, Piano 5 Harp 5 2 Violas (duet) 3 String Trio: 2 violins, cello 3 2 Violins (duet) 2 Cello, Piano 2 String Trio: 3 cellos 2 4 Cellos 2 Viola 2 Doublebass (band part) 1 Violin (band part) 1 Cello 1 Harp, Voice 1 Violin, Guitar (duet) 1 String Trio: 2 violins, viola 1 Viola, Guitar (duet) 1 String Quintet: 2 violins, 2 violas, cello 1 Cello Ensemble 1 Cello, Guitar (duet) 1

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PERCUSSION & ORCHESTRA

String Orchestra 101 Concert band 34 Orchestra 25 Jazz Ensemble 17 Chamber Orchestra 11

Brass ensemble 7 Drums 5 Handbells 5 Jazz combo 3 Percussion Ensemble 3 Marimba 2 Orchestra, Violin 1 Marching band 1

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OTHERS

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If I May

Trombone

Sheetmusic to print

2 sheet music found

9.28.85 Trombone

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. …(+)

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchinâ€™s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as heâ€™s a wonderful musician, anything is possible, heâ€™s open to trying out new ideas and heâ€™s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited â€˜windowâ€™ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. Heâ€™s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between â€˜tsâ€™ and â€˜tshâ€™ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really â€˜speakâ€™ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.

$7.99 7.37 € #Trombone #Drake Mabry #9.28.85 #Drake Mabry #SheetMusicPlus

Futility Trombone

Trombone Solo - Level 4 - Digital Download SKU: A0.1025109 Composed by Benjamin Gie…(+)

Trombone Solo - Level 4 - Digital Download SKU: A0.1025109 Composed by Benjamin Giesbrecht. Contemporary,Dance,Pop. Individual part. 3 pages. Benjamin Giesbrecht #4365582. Published by Benjamin Giesbrecht (A0.1025109). Note: Performance will also require the purchase of Futility (Recorded Accompaniment Track). I apologize, but there is no way to combine the two into one package on this site.Full Title: Futility for Trombone and Recorded AccompanimentOn escaping commercial musicPerformance Directions:Some degree of acting is required, as the performer is asked to shake their head, leave the stage, and throw pages off their stand. Performers are encouraged to act out the struggle in additional ways to those marked in the score.Program Note from the score:Futility is a work embodying the struggle of a single musician to overcome the influence of commercialized music. We are inundated with commercial music and exposure to it is inescapable, thus it effects every musician in some form. Futility features an electronic track as accompaniment that was composed using commercially available audio loops and automatic beat generators-thus every sound the trombonist struggles against is both musically and literally commercial. The trombonist begins with some tentative entrances, moving towards an emulation of the electronic background. Extra copyright information: The purchaser may copy pages if they are needed to achieve successful performance(s) and are used by a sole performer. (e.g. an extra first page to throw, or an extra page for offstage.)

$3.00 2.77 € #Trombone #Benjamin Giesbrecht #Futility #Benjamin Giesbrecht #SheetMusicPlus