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Concert Etude for Horn
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Vous avez sélectionné:
Concert Etude for Horn
Partitions à imprimer
58 partitions trouvées
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51
Concert Etude for Horn
Concert Etude for Horn
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Cor
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AVANCÉ
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Beat Ochs
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Concert Etude for Horn
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Beat Ochs
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.928103 Composed by Beat Ochs. Contemporary,Instructional. Individual part. 1 pages. Beat Ochs #4986671. Published b...
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French Horn Solo - Level 5 - SKU: A0.928103 Composed by Beat Ochs. Contemporary,Instructional. Individual part. 1 pages. Beat Ochs #4986671. Published by Beat Ochs (A0.928103). This excercise is very healthy for building a flexible embouchure. It does contain different characters and styles.
$3.99
Three Concert Etudes for Solo Horn
Three Concert Etudes for Solo Horn
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Cor
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AVANCÉ
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Richard Decker
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Three Concert Etudes for Solo
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Charles Decker Music Press
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.817157 Composed by Richard Decker. 21st Century,Contemporary,Contest,Festival,Instructional. Individual part. 18 pa...
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French Horn Solo - Level 5 - SKU: A0.817157 Composed by Richard Decker. 21st Century,Contemporary,Contest,Festival,Instructional. Individual part. 18 pages. Charles Decker Music Press #5770859. Published by Charles Decker Music Press (A0.817157). These three challenging concert etudes showcase multiple skills and styles for ambitious advanced hornists seeking to expand their musical horizons. Focusing thematically on the wider intervals of fourths, fifths, sixths, sevenths and ninths, the studies incorporate a variety of well-known and contemporary horn techniques. These concert etudes, performed either singly or as a set of three, offer an excellent non-accompanied variation to any recital. Performers are encouraged to approach these etudes as more than just technical exercises, and use the various markings as guidelines with flexibility to have the freedom to embrace the pauses, the accelerandi, the crescendi and the thematic repetitions to create engaging musical performances.  The audio file is an actual solo horn performance and not a computer playback of score.See also Richard Decker arrangement for horn ensemble with Charles Decker Music Press at Sheet Music Plus and this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$7.95
Concerte Etude, Op. 49
Concerte Etude, Op. 49
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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A
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Henry Howey
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Concerte Etude, Op. 49
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Cimarron Music Press
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SheetMusicPlus
By A. Goedicke. Arranged by Henry Howey. For brass quintet. Quintet music. Score and parts. Published by Cimarron Music Press ...
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By A. Goedicke. Arranged by Henry Howey. For brass quintet. Quintet music. Score and parts. Published by Cimarron Music Press
$18.00
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
Three Pieces for Tuba Ensemble - Salutation Fanfare, Simple Gifts, Octubafest Polka
Three Pieces for Tuba Ensemble - Salutation Fanfare, Simple Gifts, Octubafest Polka
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Gregory Fritze
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Three Pieces for Tuba Ensemble
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Musica Nova USA
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SheetMusicPlus
Small Ensemble Euphonium,Horn,Tuba - Level 2 - SKU: A0.917404 Composed by Gregory Fritze. 20th Century,Concert,Standards. Score and parts. 61 pages. Mus...
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Small Ensemble Euphonium,Horn,Tuba - Level 2 - SKU: A0.917404 Composed by Gregory Fritze. 20th Century,Concert,Standards. Score and parts. 61 pages. Musica Nova USA #4984119. Published by Musica Nova USA (A0.917404). Three Pieces for Tuba Ensemble is a collection of three pieces that were composed at different times for different occasions. This set makes up a good suite for concert performance. Although listed as a tuba ensemble compositions, euphoniums usually play the higher two parts. All three are written in five parts. Optional substitute parts for French Horn and Flüglehorn are also included in this set, as well as euphonium parts in treble clef.Salutation Fanfarewas composed in 1985 for performance at the New York Brass Conference at the Roosevelt Hotel in New York City. That year, famous tubist Harvey Phillips was being honored at a special concert. This piece started the concert with the composer conducting an ensemble of about twenty euphonium and tuba players made up of Indiana University alumni, free-lance musicians and other friends of Mr. Phillips. The piece is based on the phrase Harvey Phillips Mr. Tuba. Simple Giftsis a traditional American folksong that has been arranged by many composers over the years. This arrangement was done in 1990 for performance at the International Tubists Universal Brotherhood Association Conference held in Sapporo, Japan. It was premiered by the Colonial Tuba Quartet that year. It has been arranged in four parts as well as this arrangement in five parts.Octubafest Polkawas composed in 1976 at the request of Harvey Phillips for performance at the Octubafest activities at Indiana University. It was premiered by the Indiana University Tuba Ensemble that year, conducted by Harvey Phillips. Mr. Phillips was the first to use the word Octubafest, probably in 1974 or 1975. Octubafest celebrations have taken place at many schools and universities ever since, usually in the month of October. He said that having an Octubafest celebration early in the school year provided an opportunity for new students entering college to get to know each other. At Indiana University during Harvey Phillips’ tenure (1973 – 1996) the Octubafest concerts were always followed by a party at Harvey’s house, making for a good time for all. Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. 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 ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1991 TUBA International Etude Composition Competition, for his Twenty Characteristic Etudes for Tubaan important part of the tuba pedagogy repertoire. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and 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.
$30.00
Sinfonietta - A Symphony in Three Movements for Grade 3 Concert Band
Sinfonietta - A Symphony in Three Movements for Grade 3 Concert Band
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Orchestre d'harmonie
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FACILE
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Gregory Fritze
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Sinfonietta - A Symphony in Th
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Musica Nova USA
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pa...
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Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pages. Musica Nova USA #6078853. Published by Musica Nova USA (A0.917410). Sinfonietta (alternate title SinfonÃa de Vino y Aceite de Magallon) is a composition for concert band that can be played by any band whether it has 100 players or 30 players. It is at grade 3 level of difficulty and has several substitute parts for ensembles that may not have complete instrumentation. Although the scoring includes piccolo, oboes, bassoons, and French horns, these instruments are not needed to command a good performance.Sinfonietta adheres to classical forms of symphonies by composers such as Mozart, Haydn and Beethoven. The forms are very clear so the players of the band can learn this important history. The first movement is in standard Sonata Allegro form.The second movement is in A B A form and features a solo trumpet. The third movementis in a Rondo form (A B A C A) with three distinct themes. The work was commissioned in 2017 by the town of Magallón, Spain in celebration of the town’s industries of wine and olive oil. The mayor of the town of 1,000 inhabitants, Victor Manuel Chueca Rodriguez, was specific in his request for a composition at grade 3 level of difficulty. He also suggested the title as Symphony. Since it a three-movement composition instead of a four-movement composition (the normal Minuet and Trio movement is not included in this piece), the title of Sinfonietta instead of Symphony is used.Gregory Fritzeis a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositionsfor orchestra, band, chamber ensemblesand soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d'Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria, and others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and 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.
$75.00
Nineteen Skeletal Duets for Trombones
Nineteen Skeletal Duets for Trombones
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2 Trombones (duo)
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FACILE
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Jazz
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Gregory Fritze
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Nineteen Skeletal Duets for Tr
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Individual Part, Score. 44 pages. Published ...
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Individual Part, Score. 44 pages. Published by Musica Nova USA
Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.
1. Cranium
This duet presents the cantabile ?singing? style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.
2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos ? a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a ?rock? style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of ?swing? rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.
(student) part.
11. Radius
This duet is in a ?Medium Swing? jazz style. Each part has a chance to play a little bit of a ?walking? bass line. Articulations and manipulation of ?swing? rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet ?Free rapid legato lines? are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, ?Magallon Blues?, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart?s ?Eine Kleine Nachtmusic?.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song ?Londonderry Air?, more commonly known as ?Danny Boy?.
19. Ilium
This duet is a short arrangement of the Beethoven?s song ?Ode to Joy? which represents the triumph of universal brotherhood against war and desperation.
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 Tuba 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 including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. 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.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and 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.
$20.00
Twenty-two Skeletal Duets for Horns
Twenty-two Skeletal Duets for Horns
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2 Cors (duo)
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FACILE
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Gregory Fritze
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Twenty-two Skeletal Duets for
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Musica Nova USA
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SheetMusicPlus
Instrumental Duet Horn,Instrumental Duet - Level 2 - SKU: A0.917408 Composed by Gregory Fritze. Classical,Concert,Contemporary,Instructional,Jazz. Score...
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Instrumental Duet Horn,Instrumental Duet - Level 2 - SKU: A0.917408 Composed by Gregory Fritze. Classical,Concert,Contemporary,Instructional,Jazz. Score and parts. 50 pages. Musica Nova USA #6015057. Published by Musica Nova USA (A0.917408). Twenty-two Skeletal Duets for Horns is a set of duets of easy to moderate difficulty specifically designed for teachers to play with their students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional seven duets were added in 2020. The title of each duet is a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Trombones and Nineteen Skeletal Duets for Euphoniums are the same duets but in bass and treble clef respectively. Twenty- two Skeletal Duets for Horns includes the first 19 as in the trombones set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.1. CraniumThis duet presents the cantabile singing style as studied for playing the horn. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.2. StirrupThis duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo where the less skilled students work best in the slower tempos – a common choice for all of the duets.3. HumerusThis waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.4. VertebraThis is in a rock style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.5. AxisLegato scales and syncopated rhythms are the features of this duet.6. TibiaThis duet alternates in rock style and swing. Articulations and manipulation of swing rhythms are important.7. ClavicleThis duet is based on a theme by Beethoven.
$20.00
Alexander Goedicke : Etude concertante, Opus 49
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Saxhorn et Piano
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AVANCÉ
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Classique
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Alexander Goedicke
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Etude concertante, Opus 49
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Tomplay
Telechargez la partition Saxhorn alto Etude concertante, Opus 49 de Goedicke. Partition pour Duo -- Classique...
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Telechargez la partition Saxhorn alto Etude concertante, Opus 49 de Goedicke. Partition pour Duo -- Classique
6.99€ ≈
$7.75
Gallay - 12 Duos Concertans Op. 2 No. 3 'Bolero' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 2 No. 3 'Bolero' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1372525 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1372525 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 pages. Robert Newth #956844. Published by Robert Newth (A0.1372525). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His second volume of 12 Duos Concertans (Op. 2) were published in or around 1820 at the same time as his first volume of duets (Op. 1).This PDF download is the third duet in Op. 2, titled Bolero and contains both a full score and individual parts on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 2 No. 2 'Romance, dolce' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 2 No. 2 'Romance, dolce' (for Horn Duet)
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2 Cors (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 4 - SKU: A0.1366567 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 4 - SKU: A0.1366567 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #950905. Published by Robert Newth (A0.1366567). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His second volume of 12 Duos Concertans (Op. 2) were published in or around 1820 at the same time as his first volume of duets (Op. 1).This PDF download is the second duet in Op. 2, titled Romance, dolce and contains both a full score and individual parts on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 2 'Andante' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 2 'Andante' (for Horn Duet)
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2 Cors (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 4 - SKU: A0.1186932 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 3 ...
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French Horn Duet Horn - Level 4 - SKU: A0.1186932 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 3 pages. Robert Newth #786556. Published by Robert Newth (A0.1186932). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the second duet in Op. 1, titled Andante and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 3 'Allegretto' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 3 'Allegretto' (for Horn Duet)
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2 Cors (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 4 - SKU: A0.1187227 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 ...
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French Horn Duet Horn - Level 4 - SKU: A0.1187227 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 pages. Robert Newth #786859. Published by Robert Newth (A0.1187227). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the third duet in Op. 1, titled Allegretto and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 1 'Agitato' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 1 'Agitato' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1186922 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1186922 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 pages. Robert Newth #786545. Published by Robert Newth (A0.1186922). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the first duet in Op. 1, titled Agitato and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 4 'Amoroso' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 4 'Amoroso' (for Horn Duet)
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2 Cors (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 4 - SKU: A0.1187231 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 4 - SKU: A0.1187231 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #786864. Published by Robert Newth (A0.1187231). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the fourth duet in Op. 1, titled Amoroso and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 5 'Valse' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 5 'Valse' (for Horn Duet)
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2 Cors (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 4 - SKU: A0.1187865 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 4 - SKU: A0.1187865 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #787486. Published by Robert Newth (A0.1187865). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the fifth duet in Op. 1, titled Valse and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 6 'Rondo' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 6 'Rondo' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1189500 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1189500 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 5 pages. Robert Newth #789138. Published by Robert Newth (A0.1189500). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the sixth duet in Op. 1, titled Rondo and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 7 'Adagio' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 7 'Adagio' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1190223 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1190223 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #789838. Published by Robert Newth (A0.1190223). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the seventh duet in Op. 1, titled Adagio and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 10 'Siciliana' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 10 'Siciliana' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1204076 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1204076 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #802650. Published by Robert Newth (A0.1204076). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the tenth duet in Op. 1, titled Siciliana and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 11 'Anglaise' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 11 'Anglaise' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1205493 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1205493 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #803692. Published by Robert Newth (A0.1205493). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the eleventh duet in Op. 1, titled Anglaise and contains both a full score and individual parts, on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 12 'Chasse' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 12 'Chasse' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1210138 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1210138 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 4 pages. Robert Newth #808018. Published by Robert Newth (A0.1210138). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the twelfth and final duet in Op. 1, in a chasse style and contains both a full score and individual parts on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 2 No. 1 'Allegro Risoluto' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 2 No. 1 'Allegro Risoluto' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1310995 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 9 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1310995 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 9 pages. Robert Newth #899972. Published by Robert Newth (A0.1310995). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His second volume of 12 Duos Concertans (Op. 2) were published in or around 1820 at the same time as this first volume of duets (Op. 1).This PDF download is the first duet in Op. 2, titled Allegro risoluto and contains both a full score and individual parts on single pages for ease of reading.
$1.99
Gallay - 12 Duos Concertans Op. 1 No. 8 'Allegro' (for Horn Duet)
Gallay - 12 Duos Concertans Op. 1 No. 8 'Allegro' (for Horn Duet)
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2 Cors (duo)
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AVANCÉ
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Classique
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Jacques-François Gallay
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Robert Newth
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Gallay - 12 Duos Concertans Op
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Robert Newth
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SheetMusicPlus
French Horn Duet Horn - Level 5 - SKU: A0.1190777 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 8 ...
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French Horn Duet Horn - Level 5 - SKU: A0.1190777 Composed by Jacques-François Gallay. Arranged by Robert Newth. Classical,Romantic Period. Score. 8 pages. Robert Newth #790324. Published by Robert Newth (A0.1190777). Jacques-François Gallay (1795-1864) was a prominent french horn player and composer, writing numerous Etudes, Preludes and Chamber works for the horn in addition to a popular method book. His first 12 Duos Concertans (Op. 1) were published in or around 1820 and were followed immediately by another second set of 12.This PDF download is the eighth duet in Op. 1, titled Allegro and contains both a full score and individual parts.
$2.50
Petite Suite for Brass Quintet
Petite Suite for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Gregory Fritze
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Petite Suite for Brass Quintet
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Musica Nova USA
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.917402 Composed by Gregory Fritze. 20th Century,Concert,Contemporary,Standards. Score and parts. 96 pages. Musica Nov...
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Brass Ensemble - Level 3 - SKU: A0.917402 Composed by Gregory Fritze. 20th Century,Concert,Contemporary,Standards. Score and parts. 96 pages. Musica Nova USA #4895219. Published by Musica Nova USA (A0.917402). Petite Suite for Brass Quintet is a light-hearted piece for brass quintet in four movements with a duration of fourteen minutes. The four movements follow the basic Classical symphonic form - Allegro, Adagio, Scherzo (Presto) and Finale (Presto). The first movement Strombor has a fanfare at the beginning with a melodic 2nd theme in the French Horn. The second movement is based on a slow cantabile theme. The 3rd movement Attack of the Killer Bees includes a bit of theatre. Throughout the movement there is a buzzing of bees, which are killed at the end when all the players stomp on them. The 4th movement Finale has a feeling of cartoon music, ending with a big finish. Throughout the Suite each of the five instrumentalists is featured. The grade of this piece is level 5 (intermediate) for all instruments.Petite Suite for Brass Quintet was composed in 2000 on a commission by the Strombor Brass Quintet of Valencia, Spain. It was recorded by that group on Allegro Records V-3076-2002. It was also recorded by the Hoodlebug Brass Quintet on Albany Records Troy 1175. It can be heard on youtube at: http://youtu.be/RZFf3W_yZLo. Several ensembles around the world have played it, receiving over 100 performances in recent years. Petite Suite for Brass Quintet was submitted to the American Prize Composition Competition in the chamber music division in 2016. It was the highest awarded brass quintet composition that year, awarded Finalist. Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. 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 ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and 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.
$40.00
Were You There (Horn in F and Piano)
Were You There (Horn in F and Piano)
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Cor et Piano
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INTERMÉDIAIRE
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Gospel Spirituel
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Traditional Spiritual, Frederi
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John A
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Were You There
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John A. Dempsey
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SheetMusicPlus
French Horn,Piano - Level 3 - SKU: A0.523278 Composed by Traditional Spiritual, Frederic Chopin. Arranged by John A. Dempsey. Christian,Easter,Praise & ...
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French Horn,Piano - Level 3 - SKU: A0.523278 Composed by Traditional Spiritual, Frederic Chopin. Arranged by John A. Dempsey. Christian,Easter,Praise & Worship,Sacred,Spiritual. Score and part. 12 pages. John A. Dempsey #3417661. Published by John A. Dempsey (A0.523278). This duet for horn in F and piano weaves the moving spiritual Were You There? into the rich tapestry of Chopin's Etude, Op. 10, No. 3 (Tristesse) Â Recommended for traditional Easter Sunday church services and other worship events, including Good Friday services and Easter sunrise worship as well as the Lord's Supper and Communion. Â Welcome as a prelude, postlude, an offertory, interlude, silent prayer accompaniment and special music. Â Appropriate year-round! Â 8 pages of music (that includes a separate two-page horn part). Â Concert Key (Piano): Bb major. Â French Horn Key: F major. Â Horn Level: Intermediate. Â Piano Level: Late Intermediate.
$6.99
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Concert Etude for Horn
