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Vous avez sélectionné:
Take on the Beat
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26
The Four Seasons in the Basque Country
The Four Seasons in the Basque Country
#
Orchestre d'harmonie
#
Gregory Fritze
#
The Four Seasons in the Basque
#
Musica Nova USA
#
SheetMusicPlus
Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Publishe...
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Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida
$100.00 ≈
90.07€
Variations on a Theme in D Flat
Variations on a Theme in D Flat
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Orchestre d'harmonie
#
FACILE
#
Contemporain
#
Kendra Brown
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Variations on a Theme in D Fla
#
Kendra Brown
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323)....
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Concert Band - Level 2 - SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323). The main theme is inspired by the introduction of the piece. Delicate and child-like. The ostinato in the beginning of the piece that double reeds have displays the feeling of a “child-like†waltz. The pattern is in 3 but it should be played as if it is in 6/8, with emphasis on beats 1 and 3. There should be weight to the sound but it should not be heavy. Sometimes in life, (as both teens and adults) we tend to get caught up in stress or worries and we forget to take a break, relax and destress a little. This piece reminds us to go back to our childlike roots. As the theme in Section A expands, it takes a turn in Section B where the tempo picks up. (Players are encouraged to have as much fun as they can with this part.) At and after the exposed bassoon part at m.50, in the words of my old high school band director, “Let it rip potato chip!†(Meaning give it all you’ve got and have fun). Brass are encouraged to play the dynamics as written in this section but listen to each other. Section C is a bridge to the 7/8 in Section D. Section D, reintroduces the theme in the form of a trumpet solo while brass and some of the woodwinds have the ostinato. Be careful euphonium & tuba because you’re missing a beat on purpose! Section E is the “Medley†of all the parts that were previously played with only tuba playing in the relative minor so it sticks out at the bottom of the ensemble. This is symbolic of the piece itself, showing that the pressures of life can be overcome by keeping a good attitude and persevering through those tough times that you encounter. Section F is another “bridge†beginning with the flute solo reiterating the theme one last time before the “descent and climb†(starting at m.137) to the final destination: Section G. Section G should be played like an overture. Full and with joy and a “coming alive-ness†to it therefore bringing life to the once dead emotions that once were. The ending with the oboe/bassoon duet should be played as quietly as possible & as in tune as possible.
$10.00 ≈
9.01€
The Palatka Port March - Score Only
The Palatka Port March - Score Only
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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David M
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The Palatka Port March - Score
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DMStewart Music
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1239681 Composed by David M. Stewart. March. 15 pages. DMStewart Music #835072. Published by DMStewart Music (A0.123968...
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Concert Band - Level 4 - SKU: A0.1239681 Composed by David M. Stewart. March. 15 pages. DMStewart Music #835072. Published by DMStewart Music (A0.1239681). This piece, The Palatka Port March, is intended to depict a little of the sense of life in the early years of Floridaon the St. John’s River. It was once a target for ships venturing out to find the New World. It has been used to ferrybarges and livestock. Some simply used it for sailing and transportation throughout the years, and some to catch fishto provide for themselves. The life on this river has been diverse, yet fulfilling over the years and will continue to beso in the future. The melodies in this piece were taken from the shape of the St. Johns River from its upper point in Jacksonville, to where our part of the story ends in Palatka. Notice the falling and rising 8th note runs at the beginning, thisrepresents the rise and the fall of the river as it enters Jacksonville from the Atlantic Ocean. The first strain is alinear, yet very regal melody where the heavy beats follow the contour of the river as it runs south. Here you canpicture the ships coming from Europe across the ocean and the excitement they felt when they reached it. Thesecond strain is more playful and represents the life that the river has provided for people for centuries. The Triorepresents the calmness and civility when Palatka was discovered, and the happiness the settlers must have feltknowing they had found their perfect place to call home. The break strain represents the hard work and efforts thatwere put forth to secure the land and build a community. There would have been many triumphs and manysuccesses, but the journey would have not been easy. The final strain is the culmination of the piece. This is thecelebration and the feeling of personal nobility that all of the settlers felt after taking a river and dirt and building acity. I hope you enjoy, The Palatka Port March!
$10.00 ≈
9.01€
The Palatka Port March
The Palatka Port March
#
Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
David M
#
The Palatka Port March
#
DMStewart Music
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1239680 Composed by David M. Stewart. March. Score and Parts. 92 pages. DMStewart Music #835071. Published by DMStewart...
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Concert Band - Level 4 - SKU: A0.1239680 Composed by David M. Stewart. March. Score and Parts. 92 pages. DMStewart Music #835071. Published by DMStewart Music (A0.1239680). This piece, The Palatka Port March, is intended to depict a little of the sense of life in the early years of Florida on the St. John’s River. It was once a target for ships venturing out to find the New World. It has been used to ferry barges and livestock. Some simply used it for sailing and transportation throughout the years, and some to catch fish to provide for themselves. The life on this river has been diverse, yet fulfilling over the years and will continue to be so in the future.   The melodies in this piece were taken from the shape of the St. Johns River from its upper point in Jacksonville, to where our part of the story ends in Palatka. Notice the falling and rising 8th note runs at the beginning, this represents the rise and the fall of the river as it enters Jacksonville from the Atlantic Ocean. The first strain is a linear, yet very regal melody where the heavy beats follow the contour of the river as it runs south. Here you can picture the ships coming from Europe across the ocean and the excitement they felt when they reached it. The second strain is more playful and represents the life that the river has provided for people for centuries. The Trio represents the calmness and civility when Palatka was discovered, and the happiness the settlers must have felt knowing they had found their perfect place to call home. The break strain represents the hard work and efforts that were put forth to secure the land and build a community. There would have been many triumphs and many successes, but the journey would have not been easy. The final strain is the culmination of the piece. This is the celebration and the feeling of personal nobility that all of the settlers felt after taking a river and dirt and building a city. I hope you enjoy, The Palatka Port March!
$50.00 ≈
45.03€
Monody
Monody
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Christian F
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Stephen Cai
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Monody
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Stephen Cai
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Vid...
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Concert Band - Level 4 - SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Video Game. Score and Parts. 66 pages. Stephen Cai #876297. Published by Stephen Cai (A0.1285185). Monody - TheFatRat (Christian F. J. Buettner) arr. Stephen Cai for Concert BandProgram Notes:MUSIC As a sequel to Pigstep by Lena Raine and Exodus by Ernest Gold, I have decided to take on the challenge of arranging the ever-famous glitch hop song, Monody by Christian Buettner (known more prominently by his online alias, TheFatRat).Similarly to Pigstep, my first arrangement, I ran into the challenge of instrumentation, as Monody’s original soundtrack almost entirely consisted of electronic instruments. However, I used the same technique I did with Pigstep to overcome this problem: assign basslines to low brass, treble melodies to mid-range instruments, and high parts to upper woodwinds. Unlike Pigstep, Monody pushed me to be more creative with the percussion section, as I had to puzzle out recreating all of the numerous sound effects throughout the piece with traditional percussion instruments. I even decided to notate a conch shell line for the war horn present at the beginning and the coda! At the end, however, it all came together nicely, and I came to realize that both this song and the process of arranging it represent a journey, albeit in different contexts. The word “Monody†refers to, in a literal sense, a song sung to mourn one’s death, which accordingly fits with my view of the piece as a journey where the narrator loses their companion. Writing the introduction measures (M.22) carried me through the genuine feelings of embarking on a mythical undertaking as the original soundtrack intends to portray. The lively middle section (M.70) was enjoyable to write as well, because the music itself is upbeat and full of energy. Finally, arranging the solo section was probably my most memorable experience. The slow and subtly melancholic character of the melody (the oboe solo) very closely alludes to the narrator’s mourning, and the enchanting lyrics originally written for this section further confirms their loss:    I still hear you in the breeze,    See your shadows in the trees;    Holding on, memories never change. The chords and harmonies that the original soundtrack provided were relatively simple to transcribe, and I found joy complementing them with luscious percussion effects. This is my interpretation of Monody, and I believe that it would be best performed as a journey, one which we can relate to as it encompasses the theme of loss; a monody. ARTWORK I also took up the challenge of creating original cover artwork for Monody, and I have to say, my level of appreciation for artists of any kind has skyrocketed ever since that endeavor. It took nearly two months of watching YouTube tutorials, onerous idea crunching, and using my sister’s drawing tablet, but I had nevertheless completed it with advice from some of my more experience peers (including my sister). Formal Credits: Cai, Stephen and Rachel Cai. “Monody†Arrangement for Concert Band cover. 2023 Lastly, I want to say thanks to my friend Matteo Sohn for being such a huge musical inspiration, and thank you for acknowledging my arrangement!
$59.99 ≈
54.03€
Metricity
Metricity
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Orchestre d'harmonie
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INTERMÉDIAIRE
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James DeCaro
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Metricity
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The Beat Sellery
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.971672 Composed by James DeCaro. 20th Century,Standards. Score and parts. 38 pages. The Beat Sellery #2034343. Publishe...
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Concert Band - Level 3 - SKU: A0.971672 Composed by James DeCaro. 20th Century,Standards. Score and parts. 38 pages. The Beat Sellery #2034343. Published by The Beat Sellery (A0.971672). This piece was originally written for an ensemble of 18 students to give them something that would engage and/or challenge each player. I wanted to expose them to shifting meters and relied on a minimalist idea for building the groove that drives the piece. It is important to maintain a feeling of motion throughout. The percussion section will be kept busy moving between instruments, and they are featured in the middle-it should sound like magic sparkles. I added traditional instrumentation to this, and there is some writing more difficult than grade 3 (particularly in the oboe part since originally there was no flute). Still, I think it is a fun piece for the right group. The meter is mostly 5/8 with the occasional 6/8 or 4/8 thrown in. The recording available here is a real band with some real mistakes that hopefully don't get in the way too much. The download includes the full score and set of parts. See all works from The Beat Sellery at www.thebeatsellerycom.
$25.00 ≈
22.52€
Medioevo By Jannes Jacobs
Medioevo By Jannes Jacobs
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Orchestre d'harmonie
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Contemporain
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Jannes Jacobs
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Medioevo By Jannes Jacobs
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Jannes Jacobs
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SheetMusicPlus
Concert Band - SKU: A0.1012109 Composed by Jannes Jacobs. Contemporary. Score and parts. 359 pages. Jannes Jacobs #3569171. Published by Jannes Jacobs (...
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Concert Band - SKU: A0.1012109 Composed by Jannes Jacobs. Contemporary. Score and parts. 359 pages. Jannes Jacobs #3569171. Published by Jannes Jacobs (A0.1012109). Medioevo is a Composition based on impressions from the dark ages. The composer wrote the piece to take you on a journey through this remarkable period of time.Part 1: The Promised Beginning Land Of Departurethe part opens with a decisive rhythm in the lower brass, woodwind and percussion section. The theme played by the woodwinds is written to give the listeners a middle eastern feeling. This represents the crusades. The higher brass section play a nice and static counter theme.Part 2: Enchanted DominionThis section a bit mysterious and magic, played by mallets and flutes. The theme from the Oboe represents the ghost of a warlock trapped on the dominion. As we pas trough the dominion we need the protection of the church represented by the Harpsichord (clavecimbel) and clarinets.Part 3: The rustling ForestsAfter leaving the Enchanted Dominion we gallop with our horse trough the Rustling Forests. These forest show fast winds and have a lyric theme played by the trumpets and saxesPart 4: The SquareOnce trough the Forests we get to the Village square where the market is on going. We have several sales men selling their goods. These are represented in the themes of the woodwinds. The confusion gets to much and we try to hide from the sales men. The trumpets represent this part in a piano 5/4 movement which bring a big contrast trough the noises from the market place. In the end we need to get through the market place so we find a way to keep the sales men away by playing a wonderful legato melody which the dwarf’s taught us.Part 5: Dwarf’sThese social and kind people have a little village outside of the town where joyful melodies sound from both children as adults and elderly dwarf’s. the themes are divided under the different solo players of the woodwind sections.Part 6: Run or HideAfter a nice time with the Dwarf’s we continue our path but soon we face a large army coming our way. What do we do Run or Hide? This part is full of different melodies and counter melodies to represent the indecisiveness of the Dark Ages.Part 7: NeverlandWe arrive in the land of the elves where the tenor sax and horns play an agitato atmosphere to represent our hart beat when we see these beautiful creatures. The themes from the flutes and euphoniums show the grace and beauty of the elves. While the harp creates an elf like atmosphere.Part 8 The castle Gardenswe arrive in the castle gardens. These gardens are the most beautiful in the whole land. It makes the orchestra say Ahh. While the percussion section gives it a magical feeling. After being amassed we soon find out that these gardens are made for the Authorities and paid by our tax money which gives us a double feeling. Should this money not be better spend on good music?Part 9 Black Powderafter we find out the castle lord wrongly used or tax money we go and find some black powder to blow him up. After being hunted down by the castle lord trying to get some black powder. We find ourselves in the glorious fight.Part 10: Rageour glorious fight with the castle lord continues into an enormous climax where we are stroke down and ends up with a one way ticket to the graveyard.Part 11: The GraveyardThe whole orchestra sings a spiritual song to guide us into the afterlives. An angle comes to collect our soul (represented by the piccolo flute). And slowly or name is forgotten.
$15.00 ≈
13.51€
Our Flirtations
Our Flirtations
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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John Philip Sousa
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Wesley Besancon
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Our Flirtations
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesl...
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Concert Band - Level 4 - SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation†is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.†Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.
$14.99 ≈
13.50€
Animals
Animals
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Orchestre d'harmonie
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FACILE
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Martin Garrix
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Scaver
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Animals
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Scaver
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1235675 By Martin Garrix. By Martijn Garritsen. Arranged by Scaver. 21st Century,Disco,Pop,Video Game. Score and Parts....
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Concert Band - Level 2 - SKU: A0.1235675 By Martin Garrix. By Martijn Garritsen. Arranged by Scaver. 21st Century,Disco,Pop,Video Game. Score and Parts. 41 pages. Scaver #831187. Published by Scaver (A0.1235675). Scaver Music, a renowned concert band arranger, has recently unveiled their latest project: a concert band version of the hit song Animals by Martin Garrix. Originally released as a digital download on iTunes on June 17, 2013, Animals quickly gained popularity within the electronic dance music (EDM) culture, propelling Martin Garrix to become the youngest producer to ever have a song reach number one on Beatport, a prominent electronic music store.The track's infectious beats and energetic melodies captivated listeners, leading it to achieve remarkable success on various music charts. It climbed into the top ten and secured the number one spot on numerous electronic music charts, as well as some mainstream ones. Notably, Animals topped the singles charts in the United Kingdom, French-speaking Switzerland, and Belgium. In the United States, it reached number 21 on the Billboard Hot 100 and claimed the number one position on the Dance chart.Before its official release, Animals generated significant buzz as it was played anonymously, causing speculation to grow about the artist behind the track. Dutch record label Spinnin' Records fueled the anticipation by sharing a teaser clip of the song online, titled Animals (Teaser). This led to increased speculation, with a Vine video featuring Agnes from the animated film Despicable Me further stoking curiosity. The track was mistakenly attributed to other artists such as Hardwell, GTA, Sidney Samson, and Bassjackers before Martin Garrix's true identity as the producer was revealed.Martin Garrix shared insights into the composition of Animals, explaining that the melody was based on a previous track he had composed two years prior but never released. The drop, characterized by its ruthlessly minimalist and rhythmic sound, is inspired by Busta Rhymes' What It Is. Additionally, the opening section of the song draws inspiration from a track called D.A.T.A. by Aura Qualic. While Animals is predominantly instrumental, it features a spoken verse by a friend of Martin Garrix with the lyrics We're the fucking animals, delivered in a low pitch and repeated twice throughout the song.Now, Scaver Music has taken up the exciting challenge of arranging Animals for a concert band, bringing a fresh interpretation of this electronic dance anthem to a new musical realm. With their expertise in creating captivating arrangements, Scaver Music aims to capture the essence of the original track while adding the rich harmonies, dynamic textures, and powerful brass and woodwind sections that define the concert band sound.Fans of Animals and concert band enthusiasts alike can look forward to experiencing this new rendition, which promises to be a thrilling and unforgettable musical journey. Scaver Music's concert band version of Animals will undoubtedly provide a unique and exhilarating performance, blending the infectious energy of electronic dance music with the grandeur and depth of a full concert band. Instrument list: PiccoloFlute 1,2OboeBassoonClarinet Bb 1,2,3Bass ClarinetAlto Saxophone 1,2Tenor SaxophoneBaritone SaxophoneTrumpet Bb 1,2,3Horn F 1-2,3-4Trombone 1,2,3Euphonium BbTuba BbTuba EbDouble BassTimpaniXylophoneDrumsetPercussion 1,2
$49.99 ≈
45.02€
By Strauss
By Strauss
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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George Gershwin and Ira Gershw
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Nejc BeÄan
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By Strauss
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UpBeat Editions
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1361091 Composed by George Gershwin and Ira Gershwin. Arranged by Nejc BeÄan. 20th Century,Broadway,Film/TV,Jazz,Mus...
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Concert Band - Level 4 - SKU: A0.1361091 Composed by George Gershwin and Ira Gershwin. Arranged by Nejc BeÄan. 20th Century,Broadway,Film/TV,Jazz,Musical/Show,Standards. 64 pages. UpBeat Editions #945587. Published by UpBeat Editions (A0.1361091). An instrumental arrangement of the wonderful, witty take on Viennese waltz by the Gershwin brothers.Full set of Score and parts.Further info:www.upbeateditions.comupbeat.editions@gmail.comhttps://www.facebook.com/UpBeatEditions.
$89.00 ≈
80.16€
Viaje al Atardeser
Viaje al Atardeser
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Orchestre d'harmonie
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Latin/Musique du monde
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Sir Lunch
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2 parts have it simulated
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Viaje al Atardeser
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Sir Lunch
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SheetMusicPlus
Concert Band - SKU: A0.1024253 Composed by Sir Lunch. Latin. Score and parts. 76 pages. Sir Lunch #2917889. Published by Sir Lunch (A0.1024253). ...
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Concert Band - SKU: A0.1024253 Composed by Sir Lunch. Latin. Score and parts. 76 pages. Sir Lunch #2917889. Published by Sir Lunch (A0.1024253). Some years ago, I saw a video of an orangutang sort of running about with some latin music and it was labled Salsa Time and I knew that someday I would write a piece with that title. Well, once it was finished, and I listened and meditated over what it said to me, what I heard was the westward migration of the early settlers of America, only in and through Mexico. Journey To The Setting Sun became my title, but to give it a bit more authenticity, the title is in Spanish, and has become Viaje al Atardeser.The piece opens with a train whistle. If you have none, the Flute 1 & 2 parts have it simulated. Rehearsal markers 1A through 1D serve as layers that lead to the main melody starting at A. At letter B, the Solo 1st trumpet takes on the melody with a slight variation of rhythm. There is a trombone trio from C to D. If you have 3 stong trombonists, I recommend the Eupf and Baritone TC opt out of playing through this section, in order to highlight your great trombone section. *Optional* You may, at your discretion put a fermata after the first beat of the bar before D and allow your solo trumpeter to play a free form cadenza. The mp3 has a sample of how this would sound. The cadenza would end with the pick-up to letter D and you may feel free to let that high note of the solo trumpet ring for a second or two before cuing the rest of the band in. Although from D to the a tempo 4 bars before E is a trumpet solo, the most crucial part of that section is the tambourine part going into double time, creating that extra pop and sense of urgency.This piece represents a watershed moment in my life, as it is my first composition for Concert Band.I encourage all feedback at sirlunch@gmail.comI hope you enjoy it!
$60.00 ≈
54.04€
Piece For Jazz Bassoon And Orchestra
Piece For Jazz Bassoon And Orchestra
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Henry Mancini
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John Ivor Holland
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Piece For Jazz Bassoon And Orc
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1287477 Composed by Henry Mancini. Arranged by John Ivor Holland. 20th Century,Blues,Contemporary,Contest,Festival,Jazz...
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Concert Band - Level 4 - SKU: A0.1287477 Composed by Henry Mancini. Arranged by John Ivor Holland. 20th Century,Blues,Contemporary,Contest,Festival,Jazz. Score and Parts. 140 pages. John Ivor Holland #878499. Published by John Ivor Holland (A0.1287477). Henry Mancini wrote this unusual ‘jazz bassoon concerto’ in 1980 for Hollywood session musician Ray Pizzi (the so-called ‘godfather’ of modern jazz bassoon); he can be heard on the original ‘Star Wars’ (1977) soundtrack, also on ‘Predator 2’ (as the voice of the beast). This whirlwind piece takes us through the whole range of the instrument, starting with skittish jumping octaves, a free improvisation (book-ended by ‘shouts’ from the band), a very sultry slow section (featuring Mancini’s trademark chromatic harmony) a magnificent and dramatic final chorus, closing with an extended cadenza to further show off the instrument in this unusual disguise. This arrangement calls for a small beat quartet of keys, Fender bass and drums to accompany the solo bassoon; a suggested solo has been provided for the first section, but the final cadenza has been left blank for complete artistic creation. For further information about this, please contact the arranger, who can make suggestions, as necessary (johnivorholland@gmail.com). Created in memory of Ray Pizzi (1943-2021).
$69.99 ≈
63.04€
Fear and Awe
Fear and Awe
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Orchestre d'harmonie
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FACILE
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Simon Arruda
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Simon Arruda
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Fear and Awe
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Simon Arruda
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1300301 By Simon Arruda. By Simon Arruda. Arranged by Simon Arruda. 21st Century,Christian,Contemporary,March. Score an...
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Concert Band - Level 2 - SKU: A0.1300301 By Simon Arruda. By Simon Arruda. Arranged by Simon Arruda. 21st Century,Christian,Contemporary,March. Score and Parts. 29 pages. Simon Arruda #890035. Published by Simon Arruda (A0.1300301). Title: Fear and Awe - A Concert Band CompositionComposer: Simon ArrudaDescription:Fear and Awe is a compelling concert band composition composed by Simon Arruda, a piece that evokes a powerful narrative of trepidation and courage in the face of seemingly insurmountable odds. This musical journey takes the audience on an emotional rollercoaster as it navigates through the shadowed valleys of uncertainty, ultimately inspiring hope and determination through its rhythmic and evocative composition.The composition is crafted to convey the contrasting emotions of fear and awe. As the performance unfolds, the audience is immersed in a world where darkness looms, yet the spirit of bravery burns brightly.The rhythmic march in the percussion section serves as the backbone of the composition, grounding the piece with an insistent and driving beat. It symbolizes the relentless march of time and the persistence required to face the challenges of life. This rhythmic motif forms a bridge between the different sections of the band, connecting them in a cohesive and harmonious whole.The dark and haunting melodies played by the woodwinds and brass sections create an atmosphere of trepidation, echoing the moments of doubt and uncertainty that all heroes must confront. Yet, interspersed within these haunting passages are bursts of courage and determination.As the composition progresses, the tension between fear and awe gradually gives way to a sense of hope and inspiration. The band's collective efforts reflect the resilience and indomitable spirit of humanity. The music inspires listeners to march onward, to face the darkness with unwavering resolve, and to emerge victorious on the other side.Fear and Awe is a musical journey that draws audiences into a world where heroes rise to overcome adversity. It reminds us all that even in the darkest of times, the human spirit has the power to triumph and inspire. With its powerful percussion-driven rhythm, evocative melodies, and orchestration.This piece is suggested for beginner-level 1 band.
$30.00 ≈
27.02€
Firework
Firework
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Pop musique
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Katy Perry
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Kevin Riley
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Firework
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Kevin Riley
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.525264 By Katy Perry. By Esther Dean, Katy Perry, Mikkel Eriksen, Sandy Wilhelm, and Tor Erik Hermansen. Arranged by Ke...
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Concert Band - Level 3 - SKU: A0.525264 By Katy Perry. By Esther Dean, Katy Perry, Mikkel Eriksen, Sandy Wilhelm, and Tor Erik Hermansen. Arranged by Kevin Riley. Pop. Score and parts. 47 pages. Kevin Riley #135799. Published by Kevin Riley (A0.525264). Firework is a song by American singer Katy Perry from her third studio album, Teenage Dream (2010). Perry co-wrote the song with Ester Dean and its producers Stargate and Sandy Vee. It is a dance-pop self-empowerment anthem with inspirational lyrics, and Perry felt it was an important song for her on the record. Capitol Records released it as the album's third single on October 26, 2010. The song was commercially successful, reaching number 1 on the Billboard Hot 100 and the top five on 20 charts around the world. Firework has sold over 1 million copies in the United Kingdom, and was certified 12× platinum by the Recording Industry Association of America (RIAA) for shipments of over 12 million copies in the United States. An accompanying music video, directed by Dave Meyers, was released on October 28, 2010. It portrays Perry singing and dancing around Budapest, with interspersed scenes of young people becoming confident in themselves. An open casting call for the music video drew an unprecedented 38,000 applicants. On MuchMusic's top 50 videos of 2010, Firework reached the top position. The music video was said to be a more upbeat take on Christina Aguilera's message in Beautiful. It was nominated for three awards at the 2011 MTV Video Music Awards, eventually winning one of those, the Video of the Year, the main and final award. Firework was nominated for Record of the Year and Best Pop Solo Performance at the 54th Grammy Awards. On January 5, 2012, Firework was elected the fifth most played single on US radio during 2011 by Nielsen Broadcast Data Systems, with 509,000 plays.
$50.00 ≈
45.03€
All Star
All Star
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Orchestre d'harmonie
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DÉBUTANT
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Smash Mouth
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Miguel Alvarado
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All Star
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Miguel Alvarado
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1285474 By Smash Mouth. By Greg Camp. Arranged by Miguel Alvarado. Film/TV,Pop,Rock. Score and Parts. 30 pages. Miguel ...
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Concert Band - Level 1 - SKU: A0.1285474 By Smash Mouth. By Greg Camp. Arranged by Miguel Alvarado. Film/TV,Pop,Rock. Score and Parts. 30 pages. Miguel Alvarado #876579. Published by Miguel Alvarado (A0.1285474). Get ready to end your concert with a burst of energy as your beginning band takes on the iconic hit, 'All Star' by Greg Camp, famously featured in the movie Shrek. This arrangement is tailor-made for young musicians, offering simplicity and repetition with very few accidentals. It's the perfect choice to close your performance on a high note, with its infectious melody and upbeat rhythm that will have the audience clapping along. 'All Star' is a crowd-pleaser that will leave everyone humming the tune long after the concert is over, making it a memorable and spirited finale for your budding musicians.*This arrangment includes drumset, electric guitar, keyboard, and bass guitar as well as the standard concert band instrumentation.
$49.99 ≈
45.02€
Texas Symphony, Movement V. "Metro"
Texas Symphony, Movement V. "Metro"
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Kathryn Ellis
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Texas Symphony, Movement V. &q
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Ellis
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.885230 Composed by Kathryn Ellis. 20th Century,Contemporary,Folk. Score and parts. 73 pages. Ellis #3620143. Published ...
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Concert Band - Level 3 - SKU: A0.885230 Composed by Kathryn Ellis. 20th Century,Contemporary,Folk. Score and parts. 73 pages. Ellis #3620143. Published by Ellis (A0.885230). Metro is the fifth and final movement of A Texas Symphony- This piece takes the listener on a current day musical road trip, from Houston to Dallas to Austin. The journey begins with a travel theme, a variation of which is also then played between each city. The beginning of the travel theme is identified by a snare and timpani rhythm. Houston is the first city of the road trip an the music represents oil wells pumping – a constant timpani beat and triangle is played throughout the Houston music to represent the rhythm of the active oil wells pumping. The travel theme comes back with a key change as the music takes the listener to Dallas, where three ideas are represented; art and glamour, driving on freeway loops around Dallas, and exhilarating night life. The music is upbeat and changes keys several times. The travel theme returns in a different key while traveling to Austin, which is represented by a lyrical Texas waltz, a familiar Texas folk song, and a fiddle theme played in a more classical style. The finale is a blending of themes from the three cities and the travel theme.
$50.00 ≈
45.03€
Lie 2 Louie
Lie 2 Louie
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Orchestre d'harmonie
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FACILE
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Ryan Dignan
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Lie 2 Louie
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PDF Band Music
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SheetMusicPlus
Concert Band - Grade 2 - SKU: B0.PDF-BAND216 Composed by Ryan Dignan. Lie 2 Louie is a compelling choice for Grade 2 level band students. Multicultural....
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Concert Band - Grade 2 - SKU: B0.PDF-BAND216 Composed by Ryan Dignan. Lie 2 Louie is a compelling choice for Grade 2 level band students. Multicultural. Score and Parts. 17 pages. PDF Band Music #PDF-BAND216. Published by PDF Band Music (B0.PDF-BAND216). 8.5 x 11 inches.The familiar 60s beat takes on a new twist with this delightful chart. The stands will be rockin'. Pep Band Music - Printed march folio size.
$38.70 ≈
34.86€
More Cowbell: (wp) 1st Horn in E-flat
More Cowbell: (wp) 1st Horn in E-flat
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPEH1 (wp) 1st Horn in E-flat. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music -...
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Concert Band - SKU: AX.00-PC-0000805_WPEH1 (wp) 1st Horn in E-flat. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPEH1). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) 1st B-flat Trombone T.C.
More Cowbell: (wp) 1st B-flat Trombone T.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTN1TC (wp) 1st B-flat Trombone T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred...
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Concert Band - SKU: AX.00-PC-0000805_WPTN1TC (wp) 1st B-flat Trombone T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTN1TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTN1TC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) B-flat Baritone B.C.
More Cowbell: (wp) B-flat Baritone B.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPBBBC (wp) B-flat Baritone B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Musi...
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Concert Band - SKU: AX.00-PC-0000805_WPBBBC (wp) B-flat Baritone B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPBBBC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) 1st B-flat Trombone B.C.
More Cowbell: (wp) 1st B-flat Trombone B.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTN1BC (wp) 1st B-flat Trombone B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred...
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Concert Band - SKU: AX.00-PC-0000805_WPTN1BC (wp) 1st B-flat Trombone B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTN1BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTN1BC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) E-flat Tuba T.C.
More Cowbell: (wp) E-flat Tuba T.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTBETC (wp) E-flat Tuba T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music -...
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Concert Band - SKU: AX.00-PC-0000805_WPTBETC (wp) E-flat Tuba T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTBETC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) B-flat Tuba B.C.
More Cowbell: (wp) B-flat Tuba B.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTBBBC (wp) B-flat Tuba B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music -...
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Concert Band - SKU: AX.00-PC-0000805_WPTBBBC (wp) B-flat Tuba B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTBBBC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) B-flat Tuba T.C.
More Cowbell: (wp) B-flat Tuba T.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
#
Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTBBTC (wp) B-flat Tuba T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music -...
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Concert Band - SKU: AX.00-PC-0000805_WPTBBTC (wp) B-flat Tuba T.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTBBTC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTBBTC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
More Cowbell: (wp) E-flat Tuba B.C.
More Cowbell: (wp) E-flat Tuba B.C.
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Orchestre d'harmonie
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Methodes
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Mark Williams
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More Cowbell:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0000805_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music -...
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Concert Band - SKU: AX.00-PC-0000805_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Mark Williams. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000805_wpTBEBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000805_WPTBEBC). UPC: 038081278117.More Cowbell was inspired by the famous television skit featuring a rock band, a record producer, and an over-zealous cowbell player. If the cowbell player is good at hamming it up (and rocking out!), you could try the following staging suggestions: Cowbell player plays with intensity and lots of movement, and starts moving in measure 17 toward the front of the band, ending up next to the conductor in measure 24, bowing to the audience on beat 4. Conductor gives a stern look and gestures to student to get back in the percussion section (possibilities: slit throat gesture with side of first finger followed by pointing forcefully to the back, or similar gestures). Student slinks back, starts playing cowbell again, but quietly this time. Playing gradually picks up intensity, and player starts again toward the front in measure 41, reaching the front by measure 48. In measure 48, either A) Conductor waves hands violently for student to stop, or B) have a couple of students place a large blanket over the cowbell player. This works, but only for one measure (player quits and doesn't move in bar 49). Cowbell player resumes playing with a vengeance in measure 50 (either in spite of the teacher or under the blanket!). Make sure your new rock star takes another bow at the end of the piece. Have fun, and may your life always have More Cowbell! Correlated with Accent on Achievement, Book 1, page 27. (1:54) This title is available in SmartMusic.Movement and Staging.
$3.00 ≈
2.70€
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