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Trumpets of Symphony Hall: Flute
Sheetmusic to print
9 sheet music found
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1
Trumpets of Symphony Hall: Flute
Flute (band part)
Arranged by Todd Stalter. For Concert Band. Instructional. Part. 1 pages. Published by Alf…
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Arranged by Todd Stalter. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.76 €
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Flute (band part)
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Trumpets of Symphony Hall: Flute
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Home on the Range - for symphony orchestra (optional sing-along)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1075450 Composed by Lyrics by B…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1075450 Composed by Lyrics by Brewster M. Higley, Music by Daniel E. Kelley. Arranged by Evan Halloin. Classical,Folk,Patriotic,Traditional. Score and parts. 118 pages. Evan Halloin #679638. Published by Evan Halloin (A0.1075450). Home on the Range is arranged here for full symphony orchestra, with and option to perform it as an audience sing-along. There is a short intro, 4 verses and choruses, and a short coda. Each verse and chorus is slightly different, like a series of variations.This arrangement was originally created for the Kansas City Symphony's Symphony in the Flint Hills event in 2022, an annual outdoor concert which traditionally ends with a crowd singing along to this, the state song of Kansas. The key is a friendly E flat, and the text is provided on the second page of the score. There are parts for:the sing-along vocal part 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons optional piccolo, English horn, bass clarinet, contrabassoon 4 horns in F, 3 trumpets in C, 2 trombones, bass trombone, tuba Timpani, 2 percussionists (glockenspiel, triangle, suspended cymbal), harp violin I, violin II, viola, cello, double bassI mean, it's a good tune! Score is 11 x 17 and parts are 9 x 12 size. Adobe Acrobat will easily shrink to fit letter size paper.
$60.00
55.29 €
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Orchestra
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Lyrics by Brewster M
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Home on the Range - for symphony orchestra
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Evan Halloin
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SheetMusicPlus
The Battle of Shiloh for Full Orchestra
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1162897 Composed by Kelly Joe R…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1162897 Composed by Kelly Joe Richardson. 20th Century,Classical,Contemporary,Patriotic. Score and parts. 114 pages. ALBEDO MUSIC #763253. Published by ALBEDO MUSIC (A0.1162897). The Battle of Shiloh for Full Orchestra. Full Score & Parts. Composed by Kelly Joe Richardson. With deep gratitude to Dr. Jason Klein & The College Park Symphony Orchestra for their heartfelt performances in Carnegie Hall & Central Park. Instrumentation: Piccolo, Flutes 1 & 2, Oboes 1 & 2, Bb Clarinets 1 & 2, Bassoons 1 & 2, F Horns 1 & 3, F Horns 2 & 4, Bb Trumpet 1, Bb Trumpets 2 & 3, Trombones 1 & 2, Bass Trombone, Tuba, Timpani, Percussion 1 (Crash Cymbals, Glockenspiel, Tambourine), Percussion 2 (Suspended Cymbal, Xylophone, Tenor Drum, Tam-tam), Percussion 3 (Snare Drum, Suspended Cymbal), Percussion 4 (Tam-tam, Bass Drum, Triangle), Piano, Violin 1, Violin 2, Viola, Violoncello, Double Bass. Alternate Percussion A (Tam-tam, Snare Drum, Xylophone), Alternate Percussion B (Crash Cymbals, Suspended Cymbal, Tambourine, Bass Drum, Glockenspiel). Contains bonus Conductor Score with alternate percussion. Performance Duration 4:27. 130 measures. © 2023 by Kelly Joe Richardson (BMI). Published by ALBEDO MUSIC Worldwide (BMI). www.kellyjoerichardson.com.
$40.00
36.86 €
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Orchestra
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Kelly Joe Richardson
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Parts
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The Battle of Shiloh for Full Orchestra
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ALBEDO MUSIC
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SheetMusicPlus
Sergei's Suite for 12-part Brass Ensemble, Timpani & Percussion
Flute, Oboe, Clarinet, Bassoon
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A…
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.942267 Composed by Sergei Rachmaninoff. Arranged by James Haynor. 20th Century,Romantic Period. Score and parts. 101 pages. Gordon Cherry #548069. Published by Gordon Cherry (A0.942267). James Haynor's new arrangement Sergei's Suite for 12-part Brass Ensemble, Timpani & Percussion by Rachmaninoff will lift the roof off of your concert hall. The 3-movement suite features the Allegro Molto 2nd movement from Symphony No. 2, Vocalise, and Prelude in C-sharp minor, all hugely popular and full of great music. This 13-minute suite is appropriate for advanced performers and is arranged for the following instruments: 4 Trumpets in B-flat, Flugelhorn, 2 Horns in F, 2 Trombones, Euphonium, 2 Tubas, Timpani, Percussion.
$50.00
46.07 €
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Flute, Oboe, Clarinet, Bassoon
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Sergei Rachmaninoff
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Sergei's Suite for 12-part Brass Ensemble, Timpani & Percussion
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Gordon Cherry
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
81.08 €
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Choral SATB
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
147.44 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
79.24 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
The Glastry Pearl. Tone Poem Elegy For My Mum.
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00
184.3 €
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Orchestra
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Geraldine
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The Glastry Pearl. Tone Poem Elegy For My Mum.
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Geraldine
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SheetMusicPlus
We Want To Play A Plena!
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.1119832 Composed by William Pag…
(+)
Full Orchestra - Level 2 - Digital Download SKU: A0.1119832 Composed by William Pagan-Perez. Multicultural,World. Score and parts. 54 pages. William Pagan-Perez #721176. Published by William Pagan-Perez (A0.1119832). We Want To Play A Plena! It is a single-movement piece for the Symphony Youth Orchestra by Composer William Pagán-Pérez. The piece is in the key of D Major. Composer Pagán-Pérez followed some teachings organized in Volume I of the Suzuki Methods to compose the piece for the string sections and a 2 or 2.5 grade level for the wind and brass instruments. The key of D Major can be a challenge for the winds and brass (especially for clarinets and trumpets in Bb), but music teachers, conductors, and students will manage the challenges by practicing scales and arpeggios. The Plena is a music genre or a rhythm from the south of Puerto Rico (a territory of the United State in the Caribbean). Percussion students can learn the basic patterns by reading the music notation or by ear (it is very repetitive). Composer Pagán-Pérez used the Plena variation by percussionist Tony Sánchez, Sr. Instrumentation: Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trumpet in Bb 1, Trumpet in Bb 2, Trombone, Tuba, Cowbell (Small), Maracas, Conga Drums, Tenor Drums or Toms, Percussion (Bass Drum, Sus. Cymbal), Violin I, Violin II, Viola, Violoncello, Double Bass.
$35.00
32.25 €
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Orchestra
#
William Pagan-Perez
#
We Want To Play A Plena!
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William Pagan-Perez
#
SheetMusicPlus
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