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Concerto for Organ and Concert Band
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1
Concerto for Organ and Concert Band
Concerto for Organ and Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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G
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Yves Bouillot
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Concerto for Organ and Concert
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Yves Bouillot
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1136568 Composed by G.F. Haendel. Arranged by Yves Bouillot. Baroque. Score and parts. 51 pages. Yves Bouillot #731875....
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Concert Band - Level 3 - SKU: A0.1136568 Composed by G.F. Haendel. Arranged by Yves Bouillot. Baroque. Score and parts. 51 pages. Yves Bouillot #731875. Published by Yves Bouillot (A0.1136568). After the violin and the piccolo, I propose here a new original solo instrument accompanied by a concert band: the organ. G.F. Handel wrote 6 concertos for organ Op. 4 between 1735 and 1736. It seemed interesting to me to propose a version for the concert band. Grade 3 for the orchestra.
$25.00 ≈
22.67€
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 ≈
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"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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A
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Stephen Davies
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"Clarinet Concert Concert
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen...
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Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99 ≈
45.33€
Concerto grosso in E minor op. 6 no. 3
Concerto grosso in E minor op. 6 no. 3
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Quatuor à cordes: 2 violons, alto, violoncelle
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Classique
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George Frideric Handel
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Adrian Gagiu
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Concerto grosso in E minor op.
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - SKU: A0.1150516 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 46 pages. Adrian Gagiu #7...
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String Quartet String Quartet - SKU: A0.1150516 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 46 pages. Adrian Gagiu #750692. Published by Adrian Gagiu (A0.1150516). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. The movements of Concerto grosso in E minor, op. 6 no. 3: 1. Larghetto – a serious sarabande 2. Andante – a tragic fugato, reminding of J.S. Bach’s style (and of the theme of D. Scarlatti’s so-called ‘Cat Fugue’) 3. Allegro – stern, Italianate and a bit strange 4. Polonaise (Andante) – pastoral, yet courtly, in G major 5. Allegro, ma non troppo – serious again, with some surprises. Total duration 10 min 30 sec. The mp3 audio clip is the fifth movement. Performing Rights Organization: SOCAN.
$20.00 ≈
18.13€
Concerto grosso in A minor op. 6 no. 4
Concerto grosso in A minor op. 6 no. 4
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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Adrian Gagiu
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2
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Concerto grosso in A minor op.
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1150520 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 45 pages. Adria...
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String Quartet String Quartet - Level 4 - SKU: A0.1150520 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 45 pages. Adrian Gagiu #750696. Published by Adrian Gagiu (A0.1150520). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. The movements of Concerto grosso in A minor, op. 6 no. 4: 1. Larghetto affettuoso – solemn, melancholy and broad; 2. Allegro – an energetic, syncopated and somber fugue; 3. Largo – a sublime, soft and simple sarabande in F major, with walking bass; 4. Allegro – restless and dramatic. Total duration 10 min. The mp3 audio clip is the third movement. Performing Rights Organization: SOCAN.
$20.00 ≈
18.13€
Baroque Wedding Music for String Trio, vol. 2
Baroque Wedding Music for String Trio, vol. 2
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Trio à Cordes: violon, alto, violoncelle
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AVANCÉ
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Nicholas Palmer
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The contents are:
1
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Baroque Wedding Music for Stri
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Nicholas D Palmer
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SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Level 5 - SKU: A0.782834 Arranged by Nicholas Palmer. Concert,Standards,Wedding. Score and parts. 75 pa...
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String Ensemble,String Trio Cello,Viola,Violin - Level 5 - SKU: A0.782834 Arranged by Nicholas Palmer. Concert,Standards,Wedding. Score and parts. 75 pages. Nicholas D Palmer #6130093. Published by Nicholas D Palmer (A0.782834). This second volume contains works from the Baroque era suitable for weddings and other occasions, that are less likely to be in standard collections, with a couple of exceptions. The contents are:1. Wachet auf, ruft uns die Stimme (J.S. Bach)2. Liebster Jesu, wir sind hier (J.S. Bach) - this is a beautiful organ chorale prelude that translated well into a trio.3. Pastorale (J.S. Bach) - An arrangement of a particularly lovely movement of the organ piece Pastorale in F).4. Bouree (G.F. Handel) - a lively piece from Watermusic.5. The Peace (G.F. Handel) - a lovely movement from the Fireworks suite.6. Concerto in G for Violin (Antonio Vivaldi) - a flashy violin part across three movements makes for a festive set.7. Fughetta (Dietrich Buxtehude) - originally for organ, a lively gigue fugue.8. Trio (Francois Dandrieu) - a disciplined, lively imitative piece from the organ repertoire of this French master.9. Aria in F (Henry Purcell) - a short, vigorous piece by this early English Baroque composer.10. Saraband with Division (Henry Purcell) - a slower piece, reminiscent of Byrd's Pavan, that can be paired with #9.
$20.00 ≈
18.13€
Three Pieces for Violoncello and Winds (Score)
Three Pieces for Violoncello and Winds (Score)
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Orchestre d'harmonie
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AVANCÉ
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Igor Musteata Morarencu
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Three Pieces for Violoncello a
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Igor Musteata Morarencu
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1027796 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 71 pages. Igor Must...
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Concert Band - Level 5 - SKU: A0.1027796 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 71 pages. Igor Musteata Morarencu #2968059. Published by Igor Musteata Morarencu (A0.1027796). This cycle of three pieces for violoncello and winds is a fresh take on the traditional instrumental concerto. Each of the pieces explores a different aspect of the unconventional instrumentation, blending the timbres of the ‘cello, and the wind ensemble. The first piece (Concerto Grosso) features interactions between the instruments where the winds assume organ-like quality. In the second piece (Cancion de Cuna) an elegiac ‘cello solo is supported by the lacy accompaniment of the upper winds. The third piece (Rondo-Cancan) spoofs a third movement of a concerto, giving a humorous and irreverent treatment to quotations taken from music of various genres. Demo sound file includes excerpts from each piece.
$12.95 ≈
11.74€
Three Pieces for Violoncello and Winds
Three Pieces for Violoncello and Winds
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Orchestre d'harmonie
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AVANCÉ
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Igor Musteata Morarencu
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Three Pieces for Violoncello a
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Igor Musteata Morarencu
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1027794 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 137 pages. Igor Mus...
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Concert Band - Level 5 - SKU: A0.1027794 Composed by Igor Musteata Morarencu. Concert,Contemporary,Standards,World. Score and parts. 137 pages. Igor Musteata Morarencu #2966835. Published by Igor Musteata Morarencu (A0.1027794). This cycle of three pieces for violoncello and winds is a fresh take on the traditional instrumental concerto. Each of the pieces explores a different aspect of the unconventional instrumentation, blending the timbres of the ‘cello, and the wind ensemble. The first piece (Concerto Grosso) features interactions between the instruments where the winds assume organ-like quality. In the second piece (Cancion de Cuna) an elegiac ‘cello lament is supported by the lacy accompaniment of the upper winds. The third piece (Rondo-Cancan) spoofs a third movement of a concerto, giving a humorous and irreverent treatment to quotations taken from music of various genres.
$97.95 ≈
88.81€
Concerto for Electric Guitar and Orchestra
Concerto for Electric Guitar and Orchestra
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Orchestre
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INTERMÉDIAIRE
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Robert E
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Concerto for Electric Guitar a
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.809889 Composed by Robert E. Proctor. Blues,Contemporary. Score and parts. 270 pages. R. E. Proctor #4800403. Publish...
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Full Orchestra - Level 3 - SKU: A0.809889 Composed by Robert E. Proctor. Blues,Contemporary. Score and parts. 270 pages. R. E. Proctor #4800403. Published by R. E. Proctor (A0.809889). This concerto is in the traditional three movement format with the first and third movements being fast and the middle movement slow. The second and third movements are most like a blues work. The first movement is a rondo format, is not particularly bluesy. A Les Paul™ guitar would play particularly well in this movement. The second movement switches between the soloist as the distorted guitar sound to the vocalist as the clean guitar sound. The final movement is happy, upbeat, and lively good time blues. In the second and third movements in particular, the basses (cello, double bass) should be easily heard. At the end of the third movement, the precisionist on the drum set should improvise a loud, untimed measure, solo utilizing all the drums and cymbals in the set ending with four moderately paced and slowing beats on the snare drum. A momentary pause, then the final chord. The guitarist will need at least one foot pedal for distortion enabling him/her to switch between a clean sound and a distorted sound. The guitar should be the equivalent of a Fender™ Stratocaster or Telecaster guitar; a Gibson™ Les Paul would do nicely also. The music is partially fingered leaving the player the opportunity to interpret the part. The work is after the fashion of Chicago style blues of the 1960’s. The conductor and guitarist may wish to listen to recordings by the Paul Butterfield Blues Band, John Lee Hooker, John Mayall and the Blues Breakers, B.B. King, etc. to get a feel for the music of the 1960’s blues bands. It would be highly desirable to use an organ, for the 3rd movement, that can produce a Hammond B3™ with Leslie sound, as that instrument was widely used in blues of that period. Although some of the notes notated as harmonics (h) in the score can be played as fretted notes, playing them as natural and artificial harmonics provides an interesting change of tonality. The orchestral part is not particularly challenging. The concerto is approx. 17 minutes in length.
$19.95 ≈
18.09€
Adagio from the Organ Concerto no. 4 - Extra Score
Adagio from the Organ Concerto no. 4 - Extra Score
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Fanfare
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Classique
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George Frideric Handel
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Glen D
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Adagio from the Organ Concerto
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Glen D. Lienhart
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SheetMusicPlus
Marching Band - SKU: A0.840146 Composed by George Frideric Handel. Arranged by Glen D. Lienhart. Contemporary. Score and parts. 8 pages. Glen D. Lienhar...
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Marching Band - SKU: A0.840146 Composed by George Frideric Handel. Arranged by Glen D. Lienhart. Contemporary. Score and parts. 8 pages. Glen D. Lienhart #38799. Published by Glen D. Lienhart (A0.840146). Extra score for the marching band arrangement of the same name.
$12.00 ≈
10.88€
Sarabande (Downloadable)
Sarabande (Downloadable)
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Orgue
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INTERMÉDIAIRE
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Arcangelo Corelli and Samuel M
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Sarabande
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ - Medium - SKU: MQ.10-099-2E Composed by Arcangelo Corelli and Samuel Metzger. Funeral, Wedding. 2 pages. MorningStar Music Publishers - Digital S...
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Organ - Medium - SKU: MQ.10-099-2E Composed by Arcangelo Corelli and Samuel Metzger. Funeral, Wedding. 2 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-2E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-099-2E). This useful collection of transcriptions includes: Sanctify Us by Thy Goodness, Johann Sebastian Bach (from BWV 22); Sarabande, Arcangelo Corelli, from Suite for Strings; Largo, Antonio Vivaldi, from Lute Concerto in D Major (RV93); Quia respexit, Johann Sebastian Bach, from Magnificat in D Major (BWV 243); In Paradisum, Fauré, (from Requiem, Op. 48).
$5.00 ≈
4.53€
Handel Suite for Brass Quintet
Handel Suite for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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James Haynor
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Handel Suite for Brass Quintet
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James Haynor
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1325695 Composed by George Frideric Handel. Arranged by James Haynor. Baroque. 18 pages. Ja...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1325695 Composed by George Frideric Handel. Arranged by James Haynor. Baroque. 18 pages. James Haynor #913885. Published by James Haynor (A0.1325695). George Frideric Handel was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi, and organ concertos.Arranged here for Brass Quintet are three of his short compositions : Bourree, Sarabande and March. It’s a delightful piece intended for intermediate/advanced players.( Duration - 5:03 )Â
$10.00 ≈
9.07€
Handel Suite for Clarinet Quintet
Handel Suite for Clarinet Quintet
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Quintette de Clarinettes: 5 clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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James Haynor
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Handel Suite for Clarinet Quin
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James Haynor
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SheetMusicPlus
Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 4 - SKU: A0.1327319 Composed by George Frideric Handel. Arranged by James Haynor. Baroque. 18 p...
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Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 4 - SKU: A0.1327319 Composed by George Frideric Handel. Arranged by James Haynor. Baroque. 18 pages. James Haynor #915369. Published by James Haynor (A0.1327319). George Frideric Handel was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi, and organ concertos.Arranged here for Clarinet Quintet are three of his short compositions : Bourree, Sarabande and March. It’s a delightful piece intended for intermediate/advanced players.( Duration - 5:03 )Â
$10.00 ≈
9.07€
Handel Suite for Woodwind Quintet
Handel Suite for Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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James Haynor
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Handel Suite for Woodwind Quin
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James Haynor
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1328121 Composed by George Frideric Handel. Arranged by James Ha...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1328121 Composed by George Frideric Handel. Arranged by James Haynor. Baroque. 18 pages. James Haynor #916111. Published by James Haynor (A0.1328121). George Frideric Handel was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi, and organ concertos.Arranged here for Woodwind Quintet are three of his short compositions : Bourree, Sarabande and March. It’s a delightful piece intended for intermediate/advanced players.( Duration - 5:03 )Â
$10.00 ≈
9.07€
3 by Handel
3 by Handel
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Ian D
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3 by Handel
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Grumpy Mule Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - SKU: A0.949175 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Co...
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - SKU: A0.949175 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Concert,Standards,World. 23 pages. Grumpy Mule Music #6353549. Published by Grumpy Mule Music (A0.949175). Though German by birth and training, for many folks, the music of George Frideric Handel (1685 – 1759) epitomises the elegance and exuberance of Georgian London. An astute businessman as well as a musical genius, Mr Handel frequently 'recycled' his earlier material in subsequent compositions. (Check out the organ concertos...) So, in that same spirit of recycling, here are three splendid little keyboard pieces served up for Clarinet Quartet: the Air ('The Harmonious Blacksmith'), the Sarabande from the Suite in D minor HWV 437, and the Gavotte HWV 491.
$11.99 ≈
10.87€
3 by Handel
3 by Handel
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Ian D
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3 by Handel
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Grumpy Mule Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.949176 Composed by George Fri...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.949176 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Concert,Standards,World. 23 pages. Grumpy Mule Music #6381059. Published by Grumpy Mule Music (A0.949176). Though German by birth and training, for many folks, the music of George Frideric Handel (1685 – 1759) epitomises the elegance and exuberance of Georgian London. An astute businessman as well as a musical genius, Mr Handel frequently 'recycled' his earlier material in subsequent compositions. (Check out the organ concertos...) So, in that same spirit of recycling, here are three splendid little keyboard pieces served up for Saxophone Quartet: the Air ('The Harmonious Blacksmith'), the Sarabande from the Suite in D minor HWV 437, and the Gavotte HWV 491.
$11.99 ≈
10.87€
Krebs Trio
Krebs Trio
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Stephen R Dalrymple
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Krebs Trio
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Sc...
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Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Score and parts. 14 pages. Stephen R Dalrymple #5030197. Published by Stephen R Dalrymple (A0.818295). Krebs Trio ♫ for Concert Band with Flexible Instrumentation ♫ by Johann Ludwig Krebs (1713-1780) ♫ arranged by Stephen R Dalrymple ♫ Johann Krebs was the son of a well-known organist. Krebs studied organ and composition with JS Bach and was highly commended by him. He was one of the most technically gifted young organists of his day, yet was never employed by a major church. Krebs held modest positions all of his life and he and his family of seven children struggled with poverty. ♫ Although underpaid according to his ability and training, Krebs produced a large body of work – 193 known scores. His compositions are judged to be of prime quality, superior enough for scholars to argue whether a piece was composed by him or Bach. His Toccata and Fugue in E for organ is counted one of the masterpieces in Baroque literature. His 2 concertos for lute show that he must have been an accomplished lute player. Krebs was born, studied, lived, & composed in or near Upper Saxony (much like Bach). ♫ Teaching band in a small school, I often needed flexible instrumentation to assure satisfaction for students when a full complement of instruments was not available. This Baroque work from pipe organ literature has been scored for 3 independent polyphonic voices plus an optional percussion part. This piece can be played with almost any combination of instruments or as a trio or quartet. I added an optional hand drum part so percussionists can also participate. Krebs Trio has been performed by my mid level band and a quintet of music educators at a school music benefit concert, and the fanfa at North Haiti Music Camp. ♫ Purchase price includes permission is granted to make photocopies of parts additional scores for a medium size school band.
$18.00 ≈
16.32€
3 by Handel
3 by Handel
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Classique
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George Frideric Handel
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Ian D
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3 by Handel
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Grumpy Mule Music
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SheetMusicPlus
Recorder - Level 3 - SKU: A0.949177 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Multicultural,Standards,World. Record...
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Recorder - Level 3 - SKU: A0.949177 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Multicultural,Standards,World. Recorder Ensemble. 27 pages. Grumpy Mule Music #6365105. Published by Grumpy Mule Music (A0.949177). Though German by birth and training, for many folks, the music of George Frideric Handel (1685 – 1759) epitomises the elegance and exuberance of Georgian London. An astute businessman as well as a musical genius, Mr Handel frequently 'recycled' his earlier material in subsequent compositions. (Check out the organ concertos...) So, in that same spirit of recycling, here are three splendid little keyboard pieces served up for Recorder Quartet: the Air ('The Harmonious Blacksmith'), the Sarabande from the Suite in D minor HWV 437, and the Gavotte HWV 491.
$11.99 ≈
10.87€
Esprit De Francaise
Esprit De Francaise
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Randy A
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Randy A
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Esprit De Francaise
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Randy A. Steinberg
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.870384 Composed by Randy A. Steinberg. Arranged by Randy A. Steinberg. Contemporary. Score and parts. 101 pages. Randy ...
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Concert Band - Level 4 - SKU: A0.870384 Composed by Randy A. Steinberg. Arranged by Randy A. Steinberg. Contemporary. Score and parts. 101 pages. Randy A. Steinberg #1920361. Published by Randy A. Steinberg (A0.870384). Show off your French Horn section with this highly entertaining medley of French songs that evoke the spirit of France! See if the audience can identify the popular and familiar tunes included throughout this arrangement such as: – Fanfare La Peri – Paul Dukas – Pavanne For A Dead Princess – Maurice Ravel – Gymnopede #1 – Erik Satie – Aquarium from Carnival of the Animals – Camille Saint Saens – American In Paris – George Gershwin – Fetes – Claude Debussy – Fascination Waltz – F.D. Marchetti – Farandole – Georges Bizet – Can-Can – Jacques Offenbach – Organ Concerto – Camille Saint Saens – La Marseillaise (French National Anthem) - Claude Joseph Rouget de Lisle – Frere Jacques – Jacques Clement Many of these tunes come fast and furious. Some are hidden, played together, or combined with other melodies. See if the audience can guess them all. A concert work that goes over very well with almost any audience! 2016 Arrangement New Release.
$45.00 ≈
40.80€
Three Irish Folk Songs (that became popular in the US.)
Three Irish Folk Songs (that became popular in the US.)
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Orchestre d'harmonie
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FACILE
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Unknown Traditional folk songs
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David Berlin (ASCAP)
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Three Irish Folk Songs
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David Berlin
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.958083 Composed by Unknown Traditional folk songs. Arranged by David Berlin (ASCAP). Instructional,Romantic Period,Stan...
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Concert Band - Level 2 - SKU: A0.958083 Composed by Unknown Traditional folk songs. Arranged by David Berlin (ASCAP). Instructional,Romantic Period,Standards. Score and parts. 96 pages. David Berlin #3559075. Published by David Berlin (A0.958083). This collection of folk melodies from Ireland can be studied independently or in a variety of groupings. While created in open scoring for beginning and young instrumentalists, these pieces could be used by anyone. They are accessible with as few as two players and as many as are available in almost any combination of instruments. The folk melodies are also excellent to use as warm-ups because they can serve the purpose while also providing aesthetic value. The teacher is encouraged to be flexible and creative with them. Directors are encouraged to perform these in various combinations and sets. Feel free to be creative. For example, repeats could be added featuring various soloists and/or small groupings in contrast with the full group (as in a concerto.) Creativity could be promoted by allowing students to make suggestions pertaining to the formal organization of the material. In addition to decisions as to which pieces to perform directors are encouraged to involve students in making creative decisions such as which ones to put together, which phrases to repeat in various combinations and instrumental subsets and other appropriate aesthetic decisions. Each piece could function as a locus for branching into various content areas in connection with social studies, integrated curriculum and/or inquiry. Many of the melodies have very smooth and conjunct voice leading making them excellent for solfege/sight-reading training. These melodies are offered as a resource for the teacher to use in a variety of ways and possibilities are unlimited. Lyrics are readily available online.
$9.99 ≈
9.06€
Sanctify Us by Thy Goodness (Downloadable)
Sanctify Us by Thy Goodness (Downloadable)
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Orgue
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach and Samu
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Sanctify Us by Thy Goodness
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ - Medium - SKU: MQ.10-099-1E Composed by Johann Sebastian Bach and Samuel Metzger. Funeral, Wedding. 4 pages. MorningStar Music Publishers - Digit...
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Organ - Medium - SKU: MQ.10-099-1E Composed by Johann Sebastian Bach and Samuel Metzger. Funeral, Wedding. 4 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-1E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-099-1E). This useful collection of transcriptions includes: Sanctify Us by Thy Goodness, Johann Sebastian Bach (from BWV 22); Sarabande, Arcangelo Corelli, from Suite for Strings; Largo, Antonio Vivaldi, from Lute Concerto in D Major (RV93); Quia respexit, Johann Sebastian Bach, from Magnificat in D Major (BWV 243); In Paradisum, Fauré, (from Requiem, Op. 48).
$5.00 ≈
4.53€
Largo (Downloadable)
Largo (Downloadable)
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Orgue
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INTERMÉDIAIRE
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Classique
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Antonio Vivaldi and Samuel Met
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Largo
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ - Medium - SKU: MQ.10-099-3E Composed by Antonio Vivaldi and Samuel Metzger. Funeral, Wedding. 2 pages. MorningStar Music Publishers - Digital She...
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Organ - Medium - SKU: MQ.10-099-3E Composed by Antonio Vivaldi and Samuel Metzger. Funeral, Wedding. 2 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-3E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-099-3E). This useful collection of transcriptions includes: Sanctify Us by Thy Goodness, Johann Sebastian Bach (from BWV 22); Sarabande, Arcangelo Corelli, from Suite for Strings; Largo, Antonio Vivaldi, from Lute Concerto in D Major (RV93); Quia respexit, Johann Sebastian Bach, from Magnificat in D Major (BWV 243); In Paradisum, Fauré, (from Requiem, Op. 48).
$5.00 ≈
4.53€
Quia respexit (Downloadable)
Quia respexit (Downloadable)
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Orgue
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach and Samu
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Quia respexit
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ - Medium - SKU: MQ.10-099-4E Composed by Johann Sebastian Bach and Samuel Metzger. Funeral, Wedding. 3 pages. MorningStar Music Publishers - Digit...
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Organ - Medium - SKU: MQ.10-099-4E Composed by Johann Sebastian Bach and Samuel Metzger. Funeral, Wedding. 3 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-4E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-099-4E). This useful collection of transcriptions includes: Sanctify Us by Thy Goodness, Johann Sebastian Bach (from BWV 22); Sarabande, Arcangelo Corelli, from Suite for Strings; Largo, Antonio Vivaldi, from Lute Concerto in D Major (RV93); Quia respexit, Johann Sebastian Bach, from Magnificat in D Major (BWV 243); In Paradisum, Fauré, (from Requiem, Op. 48).
$5.00 ≈
4.53€
In Paradise (Downloadable)
In Paradise (Downloadable)
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Orgue
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INTERMÉDIAIRE
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Samuel Metzger
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In Paradise
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ - Medium - SKU: MQ.10-099-5E Composed by Samuel Metzger. Funeral, Wedding. 5 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-5E....
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Organ - Medium - SKU: MQ.10-099-5E Composed by Samuel Metzger. Funeral, Wedding. 5 pages. MorningStar Music Publishers - Digital Sheet Music #10-099-5E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-099-5E). This useful collection of transcriptions includes: Sanctify Us by Thy Goodness, Johann Sebastian Bach (from BWV 22); Sarabande, Arcangelo Corelli, from Suite for Strings; Largo, Antonio Vivaldi, from Lute Concerto in D Major (RV93); Quia respexit, Johann Sebastian Bach, from Magnificat in D Major (BWV 243); In Paradisum, Fauré, (from Requiem, Op. 48).
$5.00 ≈
4.53€
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Concerto for Organ and Concert Band
