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First Light for Brass Trio
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Vous avez sélectionné:
First Light for Brass Trio
Partitions à imprimer
31 partitions trouvées
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1
26
The First Nowell (Trombone trio)
The First Nowell (Trombone trio)
#
3 Trombones (trio)
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INTERMÉDIAIRE
#
Noël
#
Traditional
#
Anthony Giamanco
#
The First Nowell
#
Whole Tone Press
#
SheetMusicPlus
Brass Ensemble Trombone - Level 3 - SKU: A0.773759 Composed by Traditional. Arranged by Anthony Giamanco. Christian,Christmas,Concert,Sacred,Standards. ...
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Brass Ensemble Trombone - Level 3 - SKU: A0.773759 Composed by Traditional. Arranged by Anthony Giamanco. Christian,Christmas,Concert,Sacred,Standards. Score and parts. 11 pages. Whole Tone Press #4833651. Published by Whole Tone Press (A0.773759). This delightful intermediate-level arrangement of The First Nowell for trombone trio will become the highlight of your Christmas worship service, concert or recital. With 2nd trombone handling the bulk of the melody, the first and 3rd trombones create a lovely harmonic tapestry. The wind writing is pretty straightforward but interesting, with some unexpected twists. Amateur ensembles will enjoy learning this, and it can be mastered by a good high school trio. Pros will be able to sight read the piece, but will find it more than satisfying to play. Audiences will love it! Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, and on YouTube. Contact info: tony@shalomlife.org.
$3.99 ≈
3.69€
First Light - for Brass Trio
First Light - for Brass Trio
#
Kate Agioritis
#
First Light - for Brass Trio
#
Musika Publishing Australia
#
SheetMusicPlus
Horn,Trombone,Trumpet - Level 2 - SKU: A0.1213997 Composed by Kate Agioritis. 20th Century,Contemporary,Wedding. 11 pages. Musika Publishing Australia #...
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Horn,Trombone,Trumpet - Level 2 - SKU: A0.1213997 Composed by Kate Agioritis. 20th Century,Contemporary,Wedding. 11 pages. Musika Publishing Australia #811192. Published by Musika Publishing Australia (A0.1213997). A delicate, modern classical piece in triple time, First Light is a great concert piece for developing/intermediate players. For Trumpet, Trumpet/Horn and Trombone.Sheet music download includes a score and a full set of parts.Visit our website: www.musikapublishing.com.
$8.99 ≈
8.31€
Trio Sonata No. 1 Opus 5 for Trombone Trio
Trio Sonata No. 1 Opus 5 for Trombone Trio
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3 Trombones (trio)
#
AVANCÉ
#
Classique
#
Georg Frideric Handel
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Ralph Sauer
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Trio Sonata No. 1 Opus 5 for T
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Gordon Cherry
#
SheetMusicPlus
Brass Ensemble - Level 5 - SKU: A0.811150 Composed by Georg Frideric Handel. Arranged by Ralph Sauer. Baroque,Classical,Renaissance. Score and parts. 20...
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Brass Ensemble - Level 5 - SKU: A0.811150 Composed by Georg Frideric Handel. Arranged by Ralph Sauer. Baroque,Classical,Renaissance. Score and parts. 20 pages. Gordon Cherry #5733965. Published by Gordon Cherry (A0.811150). Handel's Trio Sonata No. 1 Opus 5 was first published in 1739 for 2 violins, cello and continuo. The work is in sonata da chiesa style with four movements of slow-fast-slow-fast. Sonata No. 1 concludes with a cherry on top; an added surprise movement of a sprightly Gavotte. Mr. Sauer has arranged this delightful work for Trombone Trio of advanced performers and is about 7 minutes in length.
$17.50 ≈
16.18€
Inventions for Low Brass Trio
Inventions for Low Brass Trio
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Ensemble de cuivres
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Sy Brandon
#
Inventions for Low Brass Trio
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Sy Brandon
#
SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.755276 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Score and parts. 52 pages. Sy Brandon #4798435. Pub...
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Brass Ensemble - Level 4 - SKU: A0.755276 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Score and parts. 52 pages. Sy Brandon #4798435. Published by Sy Brandon (A0.755276). The title Inventions' has a double meaning. The first meaning is that each movement represents a significant invention. The second meaning is each movement has sections reminiscent of a musical invention, a short contrapuntal composition that is usually based on a single theme. Movement 1 – The Wheel – This movement is a perpetual motion in triple meter. Movement II – The Metronome - The music in this movement represents a mechanical, wind-up metronome. Movement III – The Periscope - The movement is in an ABA'B' form. The A section, with its dark colors and slow 6/8 represents a submarine, lurking under water. The B section begins with ominous sounds that accompany the rising of the periscope and the scanning of the horizon for destroyers and for prey. Movement IV – Morse Code – The form of this movement is ABA’B’AB’’A’Coda. The A section rhythmically spells out the words brass trio in Morse code, first homophonically and then contrapuntally. The B sections spell out the names of the instruments playing the musical line in Morse code. The Coda spells out the words the end in Morse code. Movement V – The Airplane - This movement begins with a celebratory section in 7/8 and 6/8 representing the success of the Wright Brothers. After this festive beginning, a sustained melody represents the first flight that lasted 12 seconds with Orville at the controls. This melody also lasts 12 seconds. Accompanying the sustained melody is the steady staccato eighth note rhythm representing the sound of the motor. After a short celebratory interlude, another sustained melody of flight occurs with Wilbur is at the controls. The staccato eighth note motor accompaniment changes into a flowing triplet figure during 59-second flight, the longest of 1903. The flight melody now lasts 59 seconds as well. After a soft landing of the flight melody, the celebration theme ends the movement in a festive and exciting manner.
$9.99 ≈
9.24€
The First Nowell (French horn trio)
The First Nowell (French horn trio)
#
Ensemble de cuivres
#
INTERMÉDIAIRE
#
Anthony Giamanco
#
The First Nowell
#
Whole Tone Press
#
SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.773701 Arranged by Anthony Giamanco. Christmas,Concert,Sacred,Standards,World. Score and parts. 11 pages. Whole Tone ...
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Brass Ensemble - Level 3 - SKU: A0.773701 Arranged by Anthony Giamanco. Christmas,Concert,Sacred,Standards,World. Score and parts. 11 pages. Whole Tone Press #3685123. Published by Whole Tone Press (A0.773701). This delightful intermediate-level arrangement of The First Nowell for French Horn trio will become the highlight of your Christmas worship service, concert or recital. The beautiful interweaving of the three voices creates a lovely harmonic tapestry. The horn writing is pretty straightforward but interesting, with some unexpected twists. Amateur ensembles will enjoy learning this, and it can be mastered by a good high school trio. Pros will be able to sight read the piece, but will find it more than satisfying to play. Audiences will love it! Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper. Anthony's music can be heard on his website, anthonygiamanco.com, on SoundCloud (https://soundcloud.com/tony-giamanco), and on his YouTube channel (https://www.youtube.com/channel/UC09EezLz7GUoMhNrc5Y8jBg) Contact info:tony@shalomlife.org.
$3.75 ≈
3.47€
National Anthem of Ukraine - Brass Quintet - Intermediate Level
National Anthem of Ukraine - Brass Quintet - Intermediate Level
#
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
#
INTERMÉDIAIRE
#
Patriotique
#
Lyrics by Pavlo Chubynsky, Mus
#
Dennis Ruello
#
National Anthem of Ukraine - B
#
Chicory Music
#
SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1184424 Composed by Lyrics by Pavlo Chubynsky, Music by Mykhailo Verbtsky. Arranged by Dennis Ruello. 19t...
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Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1184424 Composed by Lyrics by Pavlo Chubynsky, Music by Mykhailo Verbtsky. Arranged by Dennis Ruello. 19th Century,Chamber,Historic,Patriotic. 9 pages. Chicory Music #784152. Published by Chicory Music (A0.1184424). In 1992 the Ukrainian Parliament chose as the national anthem music composed in 1863 by Mykhailo Verbytsky, a western Ukrainian composer and Catholic priest. Verbytsky originally wrote the score as a solo song and later for orchestra to accompany a patriotic poem written in 1862 by Pavlo Chubynsky, a prominent ethnographer in the Kyiv region. In his poem Shche Ne Vmerla Ukrayina (which means Ukraine is not yet dead), Chubynsky expressed the mixture of hope and desperation felt by Ukrainians over their continuous struggle to rule their own land. Widely sung around the country as the Hymn to Ukraine, both the melody and lyrics were similar to those of Polish and Serbian anthems. In 1917 it became the anthem of the short-lived Ukrainian National Republic, but during the Soviet era it was replaced. Over time there were various changes and additions to Chubynsky's original words, resulting in several slightly differing versions of the Hymn to Ukraine. Following independence in 1991, many Ukrainians were disatisfied with the pessimistic tone, so the Ukrainian government made the Verbytsky score official but hesitated to approve the Chubynsky's lyrics. A comission sponsored contests for replacement lyrics, but none were decided on. Agreement finally came in 2003, when the Parliament passed and the President signed an act recognizing a slight change to the version of Chubynsky's lyrics that were usually sung. Only the first stanza and the refrain (which is sung twice) were approved in President Kuchma's official proclamationThis arrangement for Brass Quintet, in the brass friendly key of g minor, is easily accessible to those students who play at the Intermediate Level. Performance Time: 1 minute 35 seconds
$9.99 ≈
9.24€
Take Me Back To Dear Old Blighty - BRASS BAND Score and Parts PDF
Take Me Back To Dear Old Blighty - BRASS BAND Score and Parts PDF
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Ensemble de cuivres
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INTERMÉDIAIRE
#
Arthur J
#
Brendan Elliget MAGA 537
#
Take Me Back To Dear Old Bligh
#
BJE Music
#
SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.750898 Composed by Arthur J. Mills, Fred Godfrey and Bennett Scott (1916). Arranged by Brendan Elliget MAGA 537. Patr...
(+)
Brass Ensemble - Level 3 - SKU: A0.750898 Composed by Arthur J. Mills, Fred Godfrey and Bennett Scott (1916). Arranged by Brendan Elliget MAGA 537. Patriotic,Traditional. Score and parts. 38 pages. BJE Music #4413147. Published by BJE Music (A0.750898). Take Me Back to Dear Old Blighty is a music hall song written by Arthur J. Mills, Fred Godfrey and Bennett Scott in 1916. It was popular during the First World War and tells a story of three fictional soldiers on the Western Front suffering from homesickness and their longing to return to Blighty - a slang term for Britain.Fred Godfrey wrote the song with Bennett Scott and A.J. Mills after passing a music hall in Oxford where a show called Blighty was showing. He recounts: One of us suddenly said What an idea for a song! Four hours later it was all finished, and the whole country was singing it soon afterwards. I got - not very much. The chorus lyric Take me back to dear old Blighty/Put me on a train to London town was included in The Oxford Dictionary of Quotations. [Wikipedia}This arrangement is for Brass Band with optional Piano part (not on the score) and Vocal Lead Sheet.The MP3 was recorded with NotePerformer 3.Grade = 3 Duration = 2:30 mins (2 Verses and two Choruses with repeat).
$20.00 ≈
18.49€
Christ Arose (Low in the Grave He Lay) (Flexible Brass Trio, Optional Piano Accompaniment)
Christ Arose (Low in the Grave He Lay) (Flexible Brass Trio, Optional Piano Accompaniment)
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Ensemble de cuivres
#
INTERMÉDIAIRE/AVANCÉ
#
Musique Sacrée
#
Robert Lowry
#
Cathy Stamegna
#
Christ Arose
#
Cathy Stamegna
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.781000 Composed by Robert Lowry. Arranged by Cathy Stamegna. Easter,Praise & Worship,Sacred. Score and parts. 16 page...
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Brass Ensemble - Level 4 - SKU: A0.781000 Composed by Robert Lowry. Arranged by Cathy Stamegna. Easter,Praise & Worship,Sacred. Score and parts. 16 pages. Cathy Stamegna #6301817. Published by Cathy Stamegna (A0.781000). Newly arranged and updated. Flexible instrumentation: 1-Bb Trumpet; 2-Bb Trumpet, Horn in F, Trombone; 3-Trombone, Tuba. The first verse begins in the traditional manner. A Gospel-like transition and slight increase in tempo usher verse two toward a more contemporary, percussive style with verse three returning to the familiar setting. Appropriate for a Christian worship, recital, or concert solo. Performance comments. Score. Set of parts.
$6.99 ≈
6.46€
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
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Ensemble de Tubas
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INTERMÉDIAIRE
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Jazz
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Glenn Miller
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Keith Terrett
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Moonlight Serenade for Tuba Qu
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Music for all Occasions
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SheetMusicPlus
Tuba, Euphonium, Tuba Quintet - Intermediate - Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set ...
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Tuba, Euphonium, Tuba Quintet - Intermediate - Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller?s signature tune. In 1991, Miller?s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.
The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.
In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master?s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.
The recording was also issued as a V-Disc, No. 39A, in November 1943.
The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".
The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".
"Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.
A notable vocal version can be found on Frank Sinatra?s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.
"Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrs Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.
Jazz critic Gary Giddins wrote about the song?s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ?Moonlight Serenade? for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).
"Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.
Wartime release:
The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99 ≈
12.01€
Mozart Divertimento Nr. 1 (K. 439a) Flexible Brass Tro
Mozart Divertimento Nr. 1 (K. 439a) Flexible Brass Tro
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Ensemble de cuivres
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Bill Carmody
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Mozart Divertimento Nr. 1
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Bill Carmody
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.748806 Composed by Wolfgang Amadeus Mozart. Arranged by Bill Carmody. Classical,Concert. Score and parts. 55 pages. B...
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Brass Ensemble - Level 3 - SKU: A0.748806 Composed by Wolfgang Amadeus Mozart. Arranged by Bill Carmody. Classical,Concert. Score and parts. 55 pages. Bill Carmody #2888999. Published by Bill Carmody (A0.748806). This is the first of a set of five divertimentos. Each piece has five movements and is delightful for any setting. Each movement (a separate gem). Scored for Brass Trio: tpt/hn/tbn, hn/tbn, and B.tbn/tuba, all parts lay well and are intricate to the ensemble. Unmistakable Mozart style and character (unaltered). Lots of fun.
$15.00 ≈
13.87€
Trio Sonata No. 1 Opus 5 for Euphonium Trio
Trio Sonata No. 1 Opus 5 for Euphonium Trio
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Georg Frideric Handel
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Ralph Sauer
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Trio Sonata No. 1 Opus 5 for E
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Euphonium - Level 5 - SKU: A0.811159 Composed by Georg Frideric Handel. Arranged by Ralph Sauer. Baroque,Classical,Renaissance. Score and...
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Brass Ensemble Euphonium - Level 5 - SKU: A0.811159 Composed by Georg Frideric Handel. Arranged by Ralph Sauer. Baroque,Classical,Renaissance. Score and parts. 20 pages. Gordon Cherry #5766193. Published by Gordon Cherry (A0.811159). Handel's Trio Sonata No. 1 Opus 5 was first published in 1739 for 2 violins, cello and continuo. The work is in sonata da chiesa style with four movements of slow-fast-slow-fast. Sonata No. 1 concludes with a cherry on top; an added surprise movement of a sprightly Gavotte. Mr. Sauer has arranged this delightful work for Euphonium Trio of advanced performers and is about 7 minutes in length.
$17.50 ≈
16.18€
First in Flight
First in Flight
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Ensemble de cuivres
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INTERMÉDIAIRE
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Jeff Henderson
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First in Flight
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Jeff
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.1013954 Composed by Jeff Henderson. Contemporary,Folk,Patriotic. Score and parts. 23 pages. Jeff #6572891. Published ...
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Brass Ensemble - Level 3 - SKU: A0.1013954 Composed by Jeff Henderson. Contemporary,Folk,Patriotic. Score and parts. 23 pages. Jeff #6572891. Published by Jeff (A0.1013954). This piece is commemorative of the 1903 powered flight by the Wright brothers at Kitty Hawk, North Carolina, and is dedicated to the Summer Music Academy 2021 brass section.The piece is scored for three trumpets, two horns, three trombones (third is bass trombone), tuba, and percussion.
$60.00 ≈
55.47€
America Enters The Great War for Brass Quintet
America Enters The Great War for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Patriotique
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C
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Jari A
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America Enters The Great War f
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JV MUSIC
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SheetMusicPlus
Composed by C. Francis Reiser, Walter Donaldson. Arranged by Jari A. Villanueva. 20th Century, Fourth of July, Patriotic, Americana. Score, Set of Parts. 39 pag...
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Composed by C. Francis Reiser, Walter Donaldson. Arranged by Jari A. Villanueva. 20th Century, Fourth of July, Patriotic, Americana. Score, Set of Parts. 39 pages. Published by JV MUSIC (S0.198335). - Score,Set of Parts - 20th Century,Fourth of July,Patriotic,Americana - JV MUSIC
America Enters The Great War for Brass Quintet Arranged by Jari Villanueva A Medley of "Goodbye Broadway, Hello France" and "How Ya Gonna Keep ?Em Down on the Farm?" Score and parts provided Full Score 2 Trumpets in B Flat Horn in F Trombone Tuba Drums Eb Alto Horn (Substitute for Horn in F) Baritone T.C. (Substitute for Trombone) "Good-Bye Broadway, Hello France? is a 1917 song composed byBilly Baskette, with lyrics written by C. Francis Reisner and Benny Davis.While the song was popular during its time, it also saw a revival during WorldWar II, where some soldiers preferred World War I songs over the war songsbeing produced at the time. ?How Ya GonnaKeep ?em Down on the Farm (After They?ve Seen Paree?)? is a World War I songthat rose to popularity after the war had ended. The music is by Walter Donaldson. The lyricshighlight concern that American soldiers from rural environments would not wantto return to farm life after experiencing the European city life and culture ofParis during World War I. It became popular among soldiers in the First WorldWar and is remembered as one of the more songs of World War I. This skillful and fun arrangement by Jari Villanueva captures the flavor of theoriginal tunes and would be a great selection commemorating the 100thanniversary of World War I. A retired memberof the United States Air Force Band where he served on the Music Productionstaff (as well as a trumpeter and bugler) and a student of Bill Holcombe, JariVillanueva continues writing for different ensembles. His arrangements areplayed by bands, brass ensembles and brass quintets all over the countryincluding many military groups. Many of his arrangements can be found on SheetMusic Plus and JV MUSIC.
$15.00 ≈
13.87€
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 ≈
22.18€
Eternal Father, Strong to Save - for Brass Quartet
Eternal Father, Strong to Save - for Brass Quartet
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Musique Sacrée
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise...
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Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise & Worship,Sacred. 18 pages. Artistic Score Engraving di Galvagno Michele #714601. Published by Artistic Score Engraving di Galvagno Michele (A0.1112593). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$4.50 ≈
4.16€
Eternal Father, Strong to Save — for French Horn Quartet
Eternal Father, Strong to Save — for French Horn Quartet
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Quatuor de cuivres: 4 cors
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INTERMÉDIAIRE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Horn - Level 3 - SKU: A0.1112595 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 p...
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Horn - Level 3 - SKU: A0.1112595 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 pages. Artistic Score Engraving di Galvagno Michele #714604. Published by Artistic Score Engraving di Galvagno Michele (A0.1112595). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$5.50 ≈
5.08€
Eternal Father, Strong to Save - for Trombone Quartet
Eternal Father, Strong to Save - for Trombone Quartet
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Quatuor de cuivres: 4 trombones
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FACILE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Trombone - Level 2 - SKU: A0.1112600 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. ...
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Trombone - Level 2 - SKU: A0.1112600 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 pages. Artistic Score Engraving di Galvagno Michele #714610. Published by Artistic Score Engraving di Galvagno Michele (A0.1112600). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$5.50 ≈
5.08€
Brass Band - March -So Fly the Eagles
Brass Band - March -So Fly the Eagles
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Contemporain
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Mike Lyons
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Brass Band - March -So Fly the
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Lyons Music Services
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.767302 Composed by Mike Lyons. Contemporary. Brass Band. 58 pages. Lyons Music Services #3409907. Published by Lyons Music Services (A0.767302). An original march dedicated to The Eagley Band, with whom I have a very long associationThe opening section is quite chaotic, as the eagles flap their wings and get ready for take-off. Then they are off with a run and a leap and we hear the first theme, a martial tune in the solo euphonium, with fanfare-like interjections on the cornets. At letter B, the tune is expanded to encompass the other sections of the band. Then at letter C, a new idea is introduced which has little obbligato tweets from the soprano and repieno on the repeat.The bass solo continues the military idea with aggressive fanfare interjections over the bass melody.The trio changes style completely and should be played as lightly and delicately as possible. The leaps on baritone and trombones should be clear and well articulated but should fit into the general texture rather than stick out abruptly.At letter G, the grace notes should be played by only one player in each section to avoid sounding like clucking chickens. The grace notes should be extremely light.
$25.00 ≈
23.11€
Imperial Fanfares for an Equestrian Ballet (1667) for Trumpet Ensemble
Imperial Fanfares for an Equestrian Ballet (1667) for Trumpet Ensemble
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Ensemble de Trompettes
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INTERMÉDIAIRE
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Johann Heinrich Schmelzer
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Charles Decker
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Imperial Fanfares for an Eques
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Charles Decker Music Press
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SheetMusicPlus
Trumpet Ensemble Trumpet - Level 3 - SKU: A0.817151 Composed by Johann Heinrich Schmelzer. Arranged by Charles Decker. Baroque,Chamber,Contest,Festival,...
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Trumpet Ensemble Trumpet - Level 3 - SKU: A0.817151 Composed by Johann Heinrich Schmelzer. Arranged by Charles Decker. Baroque,Chamber,Contest,Festival,Historic,Multicultural,World. 19 pages. Charles Decker Music Press #5356047. Published by Charles Decker Music Press (A0.817151). You don’t have to be an emperor to admire these three regal and stately fanfares composed for an elaborately staged Equestrian Ballet at the Hofburg Imperial Palace in Vienna highlighting the 1667 imperial court marriage celebrations of Emperor Leopold the First to the Infanta Margareta of Spain. Performed in its day by court trumpeters with valveless instruments and a pair of timpani, each fanfare announced with a different articulation style a new portion for the choreographed cavalry Equestrian Ballet. Accessible for students using B-flat or C trumpets and with timpani parts in both keys, they provide useful material for ceremonies and programs, even an exciting opening work to a band or orchestra concert featuring the trumpet section. Doubling parts enhances the musical impact of Baroque trumpet corps timbre and creates options for antiphonal treatment. The sound file is an actual trumpet ensemble performance of the entire edition and not a computer playback of the score.See 40+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 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. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 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. All ensemble publications include recordings of the entire edition.  Use this link to Kendor Music for more of my trumpet ensemble arrangements of music by J.S. Bach, Handel, and Renaissance composers Gervaise and Susato.
$6.99 ≈
6.46€
Eternal Father, Strong to Save — for Saxophone Quartet
Eternal Father, Strong to Save — for Saxophone Quartet
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Quatuor de Saxophones: 4 saxophones
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FACILE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1112597 Composed by John Bac...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1112597 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714606. Published by Artistic Score Engraving di Galvagno Michele (A0.1112597). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$4.50 ≈
4.16€
Eternal Father, Strong to Save - for Woodwind Quartet
Eternal Father, Strong to Save - for Woodwind Quartet
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Flûte, Hautbois, Clarinette, Basson
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FACILE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1112602 Composed by John Bacchus Dykes. Arranged by Michele Galvagno....
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1112602 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714612. Published by Artistic Score Engraving di Galvagno Michele (A0.1112602). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$4.50 ≈
4.16€
Eternal Father, Strong to Save — for String Quartet
Eternal Father, Strong to Save — for String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1112599 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,...
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1112599 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 16 pages. Artistic Score Engraving di Galvagno Michele #714609. Published by Artistic Score Engraving di Galvagno Michele (A0.1112599). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$4.50 ≈
4.16€
Eternal Father, Strong to Save — for Cello Quartet
Eternal Father, Strong to Save — for Cello Quartet
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4 Violoncelles
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FACILE
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John Bacchus Dykes
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Michele Galvagno
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Eternal Father, Strong to Save
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
String Quartet Cello,String Quartet - Level 2 - SKU: A0.1112594 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Ch...
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String Quartet Cello,String Quartet - Level 2 - SKU: A0.1112594 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Christian,Patriotic,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714602. Published by Artistic Score Engraving di Galvagno Michele (A0.1112594). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825—1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823—1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.
$5.50 ≈
5.08€
Hope Prevails
Hope Prevails
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Ensemble de cuivres
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His Own Hand - 4:26 in length:
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Arwyn Bailey
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Hope Prevails
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Galactic Publishers Limited
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SheetMusicPlus
Brass Ensemble - SKU: A0.1028133 Composed by Arwyn Bailey. Christian,Gospel,Jewish,Sacred,Spiritual. Score and parts. 113 pages. Galactic Publishers Lim...
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Brass Ensemble - SKU: A0.1028133 Composed by Arwyn Bailey. Christian,Gospel,Jewish,Sacred,Spiritual. Score and parts. 113 pages. Galactic Publishers Limited #3382201. Published by Galactic Publishers Limited (A0.1028133). Hope PrevailsThe composition consists of six movements and is for a Brass Quintet with guest instrumentalists of Oboe, Violin, Viola and Soprano voice.The piece explores the moods that many encounter as they go through life from loneliness through to elation. the composers brother experienced these extreme emotions and it resulted in him taking his own life. This piece is dedicated to his memory.The MP3 contains a very short extract from each movement that is a direct download from computer composition software and is therefore not of great quality.The composer is looking for a group to record this piece. Please get in touch if you wish to be part fo a collaborative project perhaps as a school, college, university or other group.The Struggle of the night - 4:09 in length:The first movement commences with sonorous chord sequences and quickly moves to a lively section. The piece incorporates the tune of the Welsh National Anthem along with the hymn tune Cwm Rhondda. The movement moves between the despair and loneliness of the night that one can feel, even when sleeping next to a close partner, and the racing desperation of the mind, whereby patriotic affiliations will calm the soul at these times. the movement finishes with the tune of Land of my father's resonating but even this is of no comfort, and the troubled mind lies awake and the movement finishes with a flurry of discord.The Solitude - 5.34 in length:The movement begins with a haunting melody led by the Oboe. the Horn soon joins in as do other instruments of the quintet. A simple Gregorian type rhythm and chant passes through the quintet with the Oboe leading the movement.Crescendos and attacked notes give the piece a rise and fall showing the mood of the soul that alternates between a calm and a peak of mood as sleep is hard to come by and a restless state is invoked.It appears that the oboe will be leading the soul into peace yet, at the last moment, the quintet joins in with chords of attack and crescendo followed by a sharp diminuendo to end the piece.The soul has sought solace, yet, all they find is loneliness.Brad's Broadcast - 3:01 in length:The restless soul awakes after a restless night. The world is full of voices, advice, motivation and answers.In this lively movement, the soul searches for solace and finds sense from some sources, yet, the cacophony of contrary advice and the nature of some disciples of business and life coaches becomes confusing. there are some real gems of advice available, but, the noise of others drowns out the sense and sanity.The soul manages to find some humour in the forums and media, they smile, but the relief is short lived.The movement ends with all voices descending away in a glissando and silence is restored.By His Own Hand - 4:26 in length:This movement reflects the desperation of the soul. they have sought solace, humour has passed them by, they do not feel that they can continue to live.The piece starts with a cadenza played by a viola. A violin soon duets in this Jewish styled lament.Throughout the movement the brass are spartan, reflecting the confusion of the soul. The ability to cling onto the world and to continue living is a losing battle.The waves of the lament increase in their presence, but not velocity, for the depressed souul is reaching the point of no return and of no choice.They will soon depart from the world by their own hand. The end ofthe movement is a descent and a unifying discordant sound as the soul leaves.Dreaming of Heaven - 2:31 in length:The soul is now rising and an ancient Celtic tune accompanies the soul in the form of a Soprano voice singing words of hope and light.The soul's path is lit and the ancient bell of.
$5.00 ≈
4.62€
Come, Josephine in My Flying Machine
Come, Josephine in My Flying Machine
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Ensemble de cuivres
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INTERMÉDIAIRE
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Fred Fisher
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F
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Come, Josephine in My Flying M
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.808706 Composed by Fred Fisher. Arranged by F. Leslie Smith. Folk,Holiday,Jazz,Patriotic,Traditional. Score and parts...
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Brass Ensemble - Level 3 - SKU: A0.808706 Composed by Fred Fisher. Arranged by F. Leslie Smith. Folk,Holiday,Jazz,Patriotic,Traditional. Score and parts. 40 pages. Sweetwater Brass Press #6215233. Published by Sweetwater Brass Press (A0.808706).     Orville and Wilbur Wright made their famous flight in late 1903; this song was published seven years later: Fred Fisher’s music with Alfred Bryan’s lyrics. The words form a narrative of a young man attempting to get his girlfriend to go up with him in his flying machine. And, that would take much more daring on her part than one might realize today. The year 1910 was still early days for aviation; most airplanes were still made of wood, wire and fabric and looked liked giant gliders. Supposedly, the Josephine of the song was Josephine Sarah Magner, reputed to be America’s first female parachutist. Magner married Leslie Burt Haddock, whose aviation career started in balloons, and made her first jump in 1905. During the next dozen years, she made more than 500 jumps. Pretty daring!    This arrangement is quirky and an absolute delight to play (and to listen to)! The first half is set in the song’s native ¾ time. The takeoff is the introduction, followed by the chorus, then the verse and again the chorus as the melody loops, rolls and spins through the five instruments. A middle section briefly quotes two other aerialist tunes-He flies through the air with the greatest of ease and Up in the air Junior Birdmen-and serves as a transition to cut time. A swing version of the chorus brings us in for a landing and final fade.    The arrangement begins in the key of C major and changes to G major during the transitional section. Suggested tempo is 76 bpm throughout. The arrangement comprises 202 measures: Horn in F plays the most notes, followed by Trombone and Tuba, while Trumpets get off relatively lightly. All notes are well within the normal playing range of the instruments; Trumpet 1 does, however, play A above its staff several times.    Completed in 2021, performance time for Come, Josephine in My Flying Machine runs about 3 minutes, 45 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$6.99 ≈
6.46€
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First Light for Brass Trio
