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Vous avez sélectionné:
The Times Are Changing
Orchestre d'harmonie
Partitions à imprimer
4 partitions trouvées
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1
Changing Times
Changing Times
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Orchestre d'harmonie
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DÉBUTANT
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Jerry Frazier
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Changing Times
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PDF Band Music
#
SheetMusicPlus
Concert Band - Beginning - SKU: B0.PDF-BAND-FRA-257 Composed by Jerry Frazier. Multicultural. Score and Parts. 24 pages. PDF Band Music #PDF-BAND-FRA-25...
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Concert Band - Beginning - SKU: B0.PDF-BAND-FRA-257 Composed by Jerry Frazier. Multicultural. Score and Parts. 24 pages. PDF Band Music #PDF-BAND-FRA-257. Published by PDF Band Music (B0.PDF-BAND-FRA-257). 8.5 x 11 inches.Changing Times is just that.....students can learn to read time signature changes while playing a simple composition. Ranges and rhythms are limited, doubling is common and students will have fun advancing their reading abilities.
$38.70 ≈
34.86€
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€
7 to 9
7 to 9
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Ben Pritchard
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Ben Pritchard
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7 to 9
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Benjamin Pritchard
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.986863 Composed by Ben Pritchard. Arranged by Ben Pritchard. 20th Century,Jazz,Latin,Rock. Score and parts. 19 pages. B...
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Concert Band - Level 4 - SKU: A0.986863 Composed by Ben Pritchard. Arranged by Ben Pritchard. 20th Century,Jazz,Latin,Rock. Score and parts. 19 pages. Benjamin Pritchard #5465. Published by Benjamin Pritchard (A0.986863). This piece was originally written for jazz ensemble and then arranged for concert band. This was done, in part, to make available concert band literature that utilizes jazz/rock instruments (guitar, bass, piano) and improvisation. There are many arrangements of rock and pop tunes available to band directors. While those arrangements sometimes include bass parts they rarely, if ever, have guitar or piano/keyboard parts. Why not? Why not include these parts, even if they are optional? In addition, I’ve noticed that there is very little concert band literature that involves improvisation. Again, why not? I believe that this is the concert band literature of the future – the integrated utilization of electric guitar, keyboards, and improvisation. This piece is my first attempt at such a venture. Having just finished the premier performance of the original jazz ensemble version of 7 to 9 I thought it would be a good platform. Most of 7 to 9 transitions between 7/4 and 9/4. It is a fun, quirky piece with a Latin feel. There is a short 5-bar swing section in the middle for open solos. There is also a one chord solo section later in the piece for less experienced improvisers. The students will really enjoy putting this together, especially with the electric guitar, piano, and bass. It adds a completely new dimension to the concert band as well as an overall excitement. The piece ends with a long building Latin groove with a jam feel to it. The guitarist ends this build with an improvised solo which soars above the rest of the band. It is a fun piece to play but requires a great deal of focus due to the changing meter and odd phrase lengths and entrances. There is only a midi recording available at this time. A live recording will be available soon.
$49.99 ≈
45.02€
Capricious Celts
Capricious Celts
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Celtique/Irlandais
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Fergus O'Carroll
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Capricious Celts
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Seolta Music Limited
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1291831 Composed by Fergus O'Carroll. Celtic,Irish. Score and Parts. 84 pages. Seolta Music Limited #882443. Published ...
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Concert Band - Level 4 - SKU: A0.1291831 Composed by Fergus O'Carroll. Celtic,Irish. Score and Parts. 84 pages. Seolta Music Limited #882443. Published by Seolta Music Limited (A0.1291831). Capricious Celts started life as a fanfare for band to celebrate the turning of the millenium in 2000 AD.  It soon morphed into a piece that shows the capricious nature of people, always changing, sometimes abruptly, with many different ideas and styles. This became Celtic in nature because much of the piece is based on the idea of traditional Irish music, although all of the themes themselves are original to the composer. To highlight the Millenium, the Irish themes morph into something that is strongly influenced by jazz rhythms, idioms and voicings and this reflects the close bond between the island of Ireland and the “new world†of America which became home to so many of our celtic peoples.  The piece closes with a short section bringing all of the three elements together, traditional, jazz and fanfare.To browse all band and wind ensemble music titles from Seolta Publishing click here
$90.00 ≈
81.06€
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