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Work in Progress: Bass Trombone
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Vous avez sélectionné:
Work in Progress: Bass Trombone
Partitions à imprimer
38 partitions trouvées
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1
26
Work in Progress: Bass Trombone
Work in Progress: Bass Trombone
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Trombone (partie séparée)
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Jazz
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Gordon Goodwin
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Work in Progress: Bass Trombon
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017195_BTN Bass Trombone. Composed by Gordon Goodwin. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-...
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Jazz Ensemble - SKU: AX.00-PC-0017195_BTN Bass Trombone. Composed by Gordon Goodwin. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017195_BTN. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017195_BTN). UPC: 038081415529.If you want to play original Gordon Goodwin charts but find them too challenging, you have to try this chart! Lead trumpet range to written G on top of the staff with an open solo section and written-out solos provided for E-flat, B-flat instruments and trombone. It's the Gordon Goodwin Big Phat Band sound---but accessible for your band. This title is available in SmartMusic.
$3.00 ≈
¥21.62
20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
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Trombone
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INTERMÉDIAIRE
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Opera
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Classique
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Tom Ervin
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Marco Bordogni
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20 Counterparts from Book 1 Ro
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Gordon Cherry
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SheetMusicPlus
Trombone Solo - Level 3 - SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual pa...
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Trombone Solo - Level 3 - SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany
$25.00 ≈
¥180.15
Jazz Duets for Bass Trombones, Volume 3
Jazz Duets for Bass Trombones, Volume 3
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2 Trombones (duo)
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INTERMÉDIAIRE/AVANCÉ
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Randy Aldcroft
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Jazz Duets for Bass Trombones,
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Gordon Cherry
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SheetMusicPlus
Trombone Duet Trombone - Level 4 - SKU: A0.811162 Composed by Randy Aldcroft. Blues,Jazz,Latin,Pop. Score. 33 pages. Gordon Cherry #5771517. Published b...
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Trombone Duet Trombone - Level 4 - SKU: A0.811162 Composed by Randy Aldcroft. Blues,Jazz,Latin,Pop. Score. 33 pages. Gordon Cherry #5771517. Published by Gordon Cherry (A0.811162). Legendary L.A. studio musician Randy Aldcroft has written twelve wonderful Jazz Duets for Bass Trombones, Volume 3. The Duets are written for the intermediate to advanced students interested in learning to play in the Jazz style. The styles covered are: Swing, Rock, Bossa Nova, Jazz Waltz and Blues. Chord changes are included to help learn the structure and chord progressions, allowing the Duets to be played with a rhythm section if desired. These Duets are perfect learning tools for the student and teacher to work on at lessons, and several of them can be programmed together as a medley on a concert or recital.
$22.50 ≈
¥162.13
Famous Jazz Duets for Tenor & Bass Trombone - Volume 1
Famous Jazz Duets for Tenor & Bass Trombone - Volume 1
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2 Trombones (duo)
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AVANCÉ
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Jazz
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Aldcroft, Randy
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Famous Jazz Duets for Tenor &a
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Gordon Cherry
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SheetMusicPlus
Trombone Duet Trombone - Level 5 - SKU: A0.810868 Composed by Aldcroft, Randy. Jazz. Score. 45 pages. Gordon Cherry #3664897. Published by Gordon Cherry...
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Trombone Duet Trombone - Level 5 - SKU: A0.810868 Composed by Aldcroft, Randy. Jazz. Score. 45 pages. Gordon Cherry #3664897. Published by Gordon Cherry (A0.810868). Randy Aldcroft has written 12 wonderful jazz duets for Tenor and Bass Trombone in all keys. These duets were written for the intermediate and advanced student interested in playing jazz. The chord changes are included to help learn the structure and chord progressions, and so the duets may be played with a rhythm section if desired.These duets are perfect for the student and teacher to work on at lessons and several of them can even be programmed together as a medley on a concert or recital.
$25.00 ≈
¥180.15
RACONTEUR (The Storyteller) - Trombone 2
RACONTEUR (The Storyteller) - Trombone 2
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Trombone (partie séparée)
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INTERMÉDIAIRE
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Christopher Burnett
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RACONTEUR
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BurnettPublishing.COM
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457579. Published by BurnettPublishing.COM (A0.954012). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
¥28.75
RACONTEUR (The Storyteller) - Trombone 1
RACONTEUR (The Storyteller) - Trombone 1
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Trombone (partie séparée)
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INTERMÉDIAIRE
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Christopher Burnett
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RACONTEUR
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BurnettPublishing.COM
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954011 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954011 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457577. Published by BurnettPublishing.COM (A0.954011). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
¥28.75
RACONTEUR (The Storyteller) - Trombone 3
RACONTEUR (The Storyteller) - Trombone 3
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Trombone (partie séparée)
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INTERMÉDIAIRE
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Christopher Burnett
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RACONTEUR
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BurnettPublishing.COM
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954013 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954013 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457581. Published by BurnettPublishing.COM (A0.954013). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
¥28.75
The Clarke Variations-bass clef edition
The Clarke Variations-bass clef edition
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Bass Clef Instruments
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Clarke Variations-bass cle
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Faded Duck Music
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SheetMusicPlus
Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training...
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Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training. 55 pages. Published by Faded Duck Music
Most brass players are familiar with the ubiquitous Clarke?s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.
There are two essential books that just about every trumpet player has studied; Arban?s Conservatory Method and Clarke?s Technical Studies. The Arban is fondly referred to as ?the trumpet player?s bible?. If that is the case, then the Clarke should be ?the new testament?. I consider Herbert L. Clarke to be the ?George Washington? of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country?s first great virtuosos.
The impetus for this set of variations is based on the idea of an ?Expanding Scale? or ?Expanding Range?. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are ?holding one note? and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.
This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I?ve also included more chromatic work based on Studies 7 & 8.
$16.95 ≈
¥122.14
Work in Progress: String Bass
Work in Progress: String Bass
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Contrebasse (partie séparée)
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Jazz
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Gordon Goodwin
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Work in Progress: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017195_SB String Bass. Composed by Gordon Goodwin. Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-...
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Jazz Ensemble - SKU: AX.00-PC-0017195_SB String Bass. Composed by Gordon Goodwin. Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017195_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017195_SB). UPC: 038081415529.If you want to play original Gordon Goodwin charts but find them too challenging, you have to try this chart! Lead trumpet range to written G on top of the staff with an open solo section and written-out solos provided for E-flat, B-flat instruments and trombone. It's the Gordon Goodwin Big Phat Band sound---but accessible for your band. This title is available in SmartMusic.
$3.00 ≈
¥21.62
Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Score) - Score Only
Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Score) - Score Only
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Orchestre d'harmonie
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AVANCÉ
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Franz Liszt
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Michael Barrera
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Der Tanz in der Dorfschenke |
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Michael Barrera
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1463453 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 42 pages. Michael...
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Concert Band - Level 5 - SKU: A0.1463453 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 42 pages. Michael Barrera #1042149. Published by Michael Barrera (A0.1463453). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-scoreTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust. The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed. Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work. Each of these versions were written around the same time, roughly 1859-62. The orchestral version also has an alternate ending, which is softer and fades away. This arrangement features both endings. This work was then followed by three more Mephisto Waltzes. No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only. Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3) 2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.
$29.99 ≈
¥216.10
Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Set of Parts)
Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Set of Parts)
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Orchestre d'harmonie
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AVANCÉ
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Franz Liszt
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Michael Barrera
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Der Tanz in der Dorfschenke |
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Michael Barrera
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michae...
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Concert Band - Level 5 - SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michael Barrera #1042150. Published by Michael Barrera (A0.1463454). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-partsTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust. The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed. Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work. Each of these versions were written around the same time, roughly 1859-62. The orchestral version also has an alternate ending, which is softer and fades away. This arrangement features both endings. This work was then followed by three more Mephisto Waltzes. No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only. Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3) 2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.
$79.99 ≈
¥576.39
A Night In Tunisia
A Night In Tunisia
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Trompette, Euphonium (duo)
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INTERMÉDIAIRE
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
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SheetMusicPlus
Euphonium,Instrumental Duet,Trombone - Level 3 - SKU: A0.747026 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. J...
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Euphonium,Instrumental Duet,Trombone - Level 3 - SKU: A0.747026 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. 12 pages. Keith Terrett #5899355. Published by Keith Terrett (A0.747026). A great sounding arrangement of A Night in Tunisia arranged for Baritone, Euphonium, Trombone (BC) & Piano, low brass players will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99 ≈
¥64.78
Jazz Duets for Bass Trombones, Volume 1
Jazz Duets for Bass Trombones, Volume 1
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2 Trombones (duo)
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INTERMÉDIAIRE
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Jazz
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Randy Aldcroft
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Jazz Duets for Bass Trombones,
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Cherry Classics Music
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SheetMusicPlus
Composed by Randy Aldcroft. Jazz, Swing, Latin Jazz, Bossa Nova, Rock. Score. 27 pages. Published by Cherry Classics Music...
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Composed by Randy Aldcroft. Jazz, Swing, Latin Jazz, Bossa Nova, Rock. Score. 27 pages. Published by Cherry Classics Music
Randy Aldcroft has written twelve wonderful Jazz Duets for Bass Trombones, Volume 1. These Duets are written for the intermediate to advanced students interested in learning to play in the Jazz style. The styles covered are: Swing, Rock, Bossa Nova, Funk, Jazz Waltz and Ballad.
Chord changes are included to help learn the structure and chord progressions, allowing the Duets to be played with a rhythm section if desired.
These Duets are perfect learning tools for the student and teacher to work on at lessons, and several of them can be programmed together as a medley on a concert or recital.
$20.00 ≈
¥144.12
(Hymn)
(Hymn)
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Trombone
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INTERMÉDIAIRE/AVANCÉ
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Tim Risher
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(Hymn)
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Tim Risher
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SheetMusicPlus
Trombone Solo - Level 4 - SKU: A0.1011433 Composed by Tim Risher. 20th Century,Contemporary. Individual part. 23 pages. Tim Risher #3464623. Published b...
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Trombone Solo - Level 4 - SKU: A0.1011433 Composed by Tim Risher. 20th Century,Contemporary. Individual part. 23 pages. Tim Risher #3464623. Published by Tim Risher (A0.1011433). Title: (Hymn) for bass trombone and piano.Length: ca. 6:00This is a set of variations on a hymn-like progression. The title is in brackets because I cannot create the font that I used, which is from the Voynich Manuscript, a medieval document written using an unknown script. This work is upper-intermediate in difficulty; and is appropriate for concerts of all types.
$8.99 ≈
¥64.78
Classics in Color (Teachers Edition, Band)
Classics in Color (Teachers Edition, Band)
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Classique
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Antonio Vivaldi, Franz Joseph
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Eugenia Goldman
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Classics in Color
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Eugenia Goldman
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SheetMusicPlus
Large Ensemble Alto Saxophone,Bassoon,Bells,Clarinet,Flute,Horn,Oboe,Piano Accompaniment,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.883222 Composed by An...
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Large Ensemble Alto Saxophone,Bassoon,Bells,Clarinet,Flute,Horn,Oboe,Piano Accompaniment,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.883222 Composed by Antonio Vivaldi, Franz Joseph Haydn, Franz Schubert, George Frideric Handel, Johannes Brahms, Ludwig van Beethoven, Michel Corrette, Peter Ilyich Tchaikovsky, Robert Schumann, and Wolfgang Amadeus Mozart. Arranged by Eugenia Goldman. Baroque,Classical,Romantic Period,Standards,World. Score and parts. 308 pages. Eugenia Goldman #5968509. Published by Eugenia Goldman (A0.883222). Classics in Color is a collection of themes from famous classical music compositions edited for beginner instrumental players. The pieces were selected for their melodic beauty and playability, and organized in the order of progressive difficulty. In addition, all pieces in the collection contain references to the extra-musical content, thus allowing to add the visual dimension to the musical experience. Students and music enthusiasts of all ages are invited to engage with music through several types of activities:learning basic facts about the composers and the pieces, playing the melodies,and coloring the artwork on the music pages. Suitable for individual and group instruction. Coloring can be done on paper or on an electronic device using a freestyle pen. Beginner/easy level. Teacher’s Edition includes conductor's score, 10 books for band instruments (Flute, Oboe, Alto Saxophone, Clarinet, Bassoon, Trumpet, Horn, Trombone, Tuba, Orchestral Bells), and piano accompaniments for all pieces.
$94.95 ≈
¥684.19
The Arban Manual (Pre 2013)
The Arban Manual (Pre 2013)
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Trompette
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Reper...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.
Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95 ≈
¥122.14
The Arban Manual - Hooten Edition
The Arban Manual - Hooten Edition
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Trompette
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Arban Manual - Hooten Edit
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire,...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95 ≈
¥122.14
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95 ≈
¥186.99
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #303...
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Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts. The full score and the individual parts are avaialbe as seperate items.
$64.95 ≈
¥468.02
Adagio Cantabile
Adagio Cantabile
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
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Giuseppe Tartini
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Jaime Morales-Matos
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Adagio Cantabile
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Gordon Cherry
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SheetMusicPlus
Piano,Tenor Trombone - Level 4 - SKU: A0.1240833 Composed by Giuseppe Tartini. Arranged by Jaime Morales-Matos. Baroque. Score and part. 4 pages. Gordon...
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Piano,Tenor Trombone - Level 4 - SKU: A0.1240833 Composed by Giuseppe Tartini. Arranged by Jaime Morales-Matos. Baroque. Score and part. 4 pages. Gordon Cherry #836226. Published by Gordon Cherry (A0.1240833). The Tartini Adagio Cantabile is a beautiful and haunting piece of music composed by the Italian Baroque composer Giuseppe Tartini. The composition is a slow and contemplative piece that is characterized by its lyrical melody and expressive harmonies.The piece is originally scored for solo violin and string orchestra, and it begins with a simple, yet evocative melody that is accompanied by a gentle, pulsing accompaniment. As the piece progresses, the soloist becomes more expressive, weaving intricate melodies around the underlying harmonic structure.One of the most notable features of the Tartini Adagio Cantabile is its use of dissonance, particularly in the harmonies that underpin the solo part. These dissonances create a sense of tension and release throughout the piece, adding to its emotional impact.Overall, the Tartini Adagio Cantabile is a masterful work of Baroque music and this 4-minute arrangement by Jaime Morales Matos showcases the expressive power of the Trombone and the creative genius of the composer. Its haunting melody and expressive harmonies have made it a beloved piece among both performers and audiences alike.Appropriate for advanced intermediate performers and is in bass clef.
$15.00 ≈
¥108.09
Christchurch Alive!
Christchurch Alive!
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Dale Vail
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Christchurch Alive!
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Dale Vail
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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 3 - SKU: A0.1308595 Composed by Dale Vail. Classical,Contest,Festival,Jazz. Brass Band. 107 pages. Dale Vail #897836. Published by Dale Vail (A0.1308595). Christchurch Alive! - Brass Band Major WorkPlaying level : Suitable for bands of all levelsParts for British Brass Band, and transposed options for Bass clef Trombone/Euphonium/Baritones/Tubas and Horns in F.Christchurch Alive! was written for the Nor'west Brass Band in 2017 by Dale Vail as the own choice work for their first New Zealand National Brass Band Contest in 2018.Christchurch Alive! is a testimony to the spirit of the Christchurch Community, and their resilience to the life changing earthquakes of 2010 and 2011. The piece is built around the harmonic circle of fifths. The circle of fifths is famous for being a common harmonic pattern in both baroque and classical music, and jazz and modern music. Most influentially used by Arcangelo Corelli, the pattern appears commonly in the Johann Sebastian Bach's music, and the works of Antonio Lucio Vivaldi.In the modern age, it is most famously heard in Joseph Kosma's Autumn Leaves. Dale's piece takes the two sides of this famous progression, and links them into one seamless piece of music, symbolising the union of two eras making something new, much like pre-earthquake culture, and new post-earthquake culture, joining together to create a new community.The work opens with a traditional style melody, utilising a modern minor 7th tonality. Tubular bells sound 5 times, a clock tower striking 5am marking the first hour after the first earthquake. The band explodes into a New Orleans style street band theme, showing the nightlife and central city vibrancy that still exists amongst the repairs. This swaps to a Vivaldi inspired melody, using the same circle of 5ths progression, a blend of two different times, old and new buildings forming one city. A solo voice from offstage begins a cadenza, echos of a busker in the old arts centre markets, which brings one intoA nostalgic melody from the flugel. A reflection on what used to be. The circle of fifths becomes a I - V progression, stuck on a continuous loop, illustrating a longing to remember, and to restore what was. The circle begins to move forward again with a solo trombone taking the stage, a reflection on the late night jam sessions from the Christchurch Jazz School on Poplar lane. A Sibelius inspired melody reminds that whilst the past is remembered, it cannot be revisited. The flugel melody is re-harmonized, remembering what made the old Christchurch great, and taking that with us to the new Christchurch. All the themes are revisited and brought together in a vibrant ending, a hybrid of different communities, restored and new landmarks, and a resolve to make the future their own.The city is thriving and more alive than ever.
$100.00 ≈
¥720.58
"Joy" for Mixed Wind Octet, Piano and Marimba.
"Joy" for Mixed Wind Octet, Piano and Marimba.
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Dan Cutchen and Dan Cutchen
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"Joy" for Mixed Wind
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Dan Cutchen Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Horn,Marimba,Piano Accompaniment,Soprano Saxophone,Trombone - Level 3 - SKU: A0.844263 C...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Horn,Marimba,Piano Accompaniment,Soprano Saxophone,Trombone - Level 3 - SKU: A0.844263 Composed by Dan Cutchen and Dan Cutchen. 20th Century,Contemporary,World. Score and parts. 54 pages. Dan Cutchen Music #2920627. Published by Dan Cutchen Music (A0.844263). For 4 to 8 of the following instruments: Flute, Soprano Sax, Bb Clarinet, Alto Sax, French Horn, Trombone, Bassoon, Baritone Saxophone PLUS, Marimba and Piano.https://www.youtube.com/watch?v=Sio4HdW28x4&feature=youtu.beSuggested arrangements of instrumentation (all parts are included in purchase, plus score):1. All 10 parts. 2. Flute, Bb Clarinet, Bassoon, Horn, Marimba, Piano. 3. Soprano Sax, Alto Sax, Bari Sax, Trombone, Marimba, PianoTime: Approximately 6:42The title came from the piece being dedicated to the composer’s wife. This composition reminded the composer of her delightful and kind character and her amazing and creative aptitude for organizing and resolving complicated issues. PianoThe composition process began with the opening piano motif. The harmonic and rhythmic foundation for this work is provided by the piano part. The piano serves a steady percussion with a repeating two-measure pattern of 8th notes. It also provides the harmonic foundation with an evolving arrangement of harmonies, which gradually change as the treble clef and bass clef harmonic progressions continually shift over time. The Wind Instruments This piece is comprised of three sections. Section A and C are similar in structure and harmony. In these two sections, the right hand of the piano part repeats a six-measure pattern composed of three triads: F, Edim and Dm. The left hand outlines a repeating eight-measure pattern of four triads: F, Dm, Cm and Bb. As these patterns repeat, the extra two measures in the bass clef cause the patterns to shift out of phase. This brings about a new set of harmonies for each repetition until the patterns begin again on the F major triad. The wind instruments are employed as a rhythmic and melodic counterpoint to the piano. Individually, and as a unit, they reinforce the harmony and rhythmic figures of the piano through echoing and syncopation. Section B utilizes the harmonic progressions of the other two sections but more notes to the triads to extend the harmony (examples: 9th, 11th and 13th chords.) There is also a clear contrast between the rhythms and harmony of the piano versus the wind instruments. The rhythmic and harmonic flow of this section decelerates until there is a complete stop. Section C begins abruptly with the wind instruments taking over the piano’s opening motif. This last section utilizes the same harmonic and rhythmic patterns as section A but the wind instruments become more active in their melodic and rhythmic counterpoint. The last part of this section is eventually dominated by the saxophone and low brass with a strong reiteration of the opening motif.
$20.00 ≈
¥144.12
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Work in Progress: Bass Trombone
