Brass quintet accompaniment (2 trumpets, 2 trombones, tuba)

SKU: BP.1012A

Composed by John Ness Beck. Arranged by John Ness Beck. Sacred octavos. Sacred. Parts. Beckenhorst Press #1012A. Published by Beckenhorst Press (BP.1012A).

Optional brass quintet (2 trumpets, 2 trombones, tuba) parts.

Voice 4 (Bass,low)in Es (Notviolin)(Es-Tuba,saxophone-Bar) (4. Voice (Bass, tief) in Es (Treble clef) (Es-Tuba, Baritone saxophone))

SKU: BA.BA11242-48

Edited by Andreas Dewey, Bernhard Blitsch, and Richard Mailänder. Ring stitching. Eigenteil des Erzbistums Köln. Single part. 82 pages. Baerenreiter Verlag #BA11242_48. Published by Baerenreiter Verlag (BA.BA11242-48).

ISBN 9790006563654. 15 x 21 cm inches.

(2 Trumpets, French Horn, Trombone, Tuba). By Ira Taxin. Brass quintet. For Trumpet in C I, Trumpet in C II, French Horn in F, Tenor, Tuba. Contemporary. Score and part(s). Standard notation. 3 + 1 pages. Duration 30 seconds. Published by Theodore Presser Company

SATB choir, congregation, organ [2 trumpet, 2 trombone, tuba] - Level 1

SKU: CA.9231335

Composed by Max Eham. Coppenrath Series. German title: Stephanus-Messe 5045201. Sacred vocal music, Masses, Latin. Single Part, Tuba. Composed 1986. 8 pages. Duration 15 minutes. Carus Verlag #CV 92.313/35. Published by Carus Verlag (CA.9231335).

Key: B flat major. Language: Latin.

Score available separately - see item CA.9231300.

Concert band Bass Trombone, Bassoon, Celesta, Euphonium, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Percussion 1, Percussion 2, Percussion 3, Piano, Timpani, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Trumpet 3, Tuba

SKU: PR.445410070

Composed by Sydney F. Hodkinson. Contemporary. Full score. With Standard notation. Composed January 16 2012. Duration 12 minutes. Theodore Presser Company #445-41007. Published by Theodore Presser Company (PR.445410070).

UPC: 680160607730. 8.5 x 11 inches.

Solo Bassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Euphonium, Tuba, Harp, Piano (doubles Celesta), 4 Horns in F (offstage), Timpani, 3 Percussion.

Brass Band

SKU: M7.DOHR-13822

Composed by Anton Bruckner. Arranged by Reiner Nagele. Sheet music. Set of parts. MDS (Music Distribution Services) #DOHR 13822. Published by MDS (Music Distribution Services) (M7.DOHR-13822).

ISBN 9790202028223.

Sopran-Kornett in Es, Solo-Kornett, Rep.-Kornett, Kornett 2, Kornett 3, Flügelhorn, Solo-Horn in Es, Horn 1 in Es, Horn 2 in Es, Bariton 1, Bariton 2, Posaune 1, Posaune 2, Bass-Posaune, Euphonium, Tuba 1 in Es, Tuba 2 in B, Pauken (Es, As), Becken, Triangel.

3 Tubas, Set Brass Trio

SKU: HL.228544

For 3 Tubas in B.C.. Composed by Kenneth Singleton. Peermusic Classical. Classical. Softcover. Peermusic Classical #61544-720. Published by Peermusic Classical (HL.228544).

UPC: 680160428502. 8.5x11.0x0.09 inches.

Band Bass Clarinet, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Claves, Congas, Drum Set, Euphonium, Euphonium T.C., Flute 1, Flute 2, Güiro, Horn, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3 and more. - Grade 2

SKU: CF.YPS222F

Composed by Ed Kiefer. Sws. Yps. Full score. 20 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #YPS222F. Published by Carl Fischer Music (CF.YPS222F).

ISBN 9781491156636. UPC: 680160915170. 9 x 12 inches.

Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFacebook: The Music of Ed Kiefer.

Chorale d'Enfants & Instruments, Autres Ensembles, Chorale Children's Choir Clarinets (2 parts) Trumpets (2 parts) Trombones (2 parts) Tubas (2 parts) 1 Piano 1 Double Bass 1 Drum Set - Grade 3

SKU: FL.FX072838

Composed by Jean-Michel Maury. Original Composition. Classical, Educational. Score and Set of Parts. Duration 5 minutes, 5 seconds. FLEX Editions #FX072838. Published by FLEX Editions (FL.FX072838).

Those who are struggling to get up will recognize themselves here... For children between 10 and 14 years-old. ; Instruments: Children's Choir Clarinets (2 parts) Trumpets (2 parts) Trombones (2 parts) Tubas (2 parts) 1 Piano 1 Double Bass 1 Drum Set; Difficuly Level: Grade 3.

Flute, Four French Horns, Four Trumpets, Two Trombones, & Two Tubas

SKU: SU.50003960

For Flute, Four French Horns, Four Trumpets, Two Trombones, & Two Tubas. Composed by Newel Kay Brown. Chamber Music, Mixed Ensemble. Study Score. Seesaw Music Corp #50003960. Published by Seesaw Music Corp (SU.50003960).

Copyright 1989. Published by: Seesaw Music.

2 euphoniums, 2 tubas

SKU: OU.9780193588783

Composed by Howard Skempton. 8 pages. Duration 3'. Oxford University Press #9780193588783. Published by Oxford University Press (OU.9780193588783).

ISBN 9780193588783. 12 x 8 inches.

For 2 euphoniums and 2 tubas. The pairing of a slowish and a lively movement has long been attractive to composers, certainly since the days of pavanes and galliards. Skempton uses the contrast to great effect here, where if 'Rest' is a lullaby, 'Recreation' could be described as rousing.

Band Bass Clarinet, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Claves, Congas, Drum Set, Euphonium, Euphonium T.C., Flute 1, Flute 2, Güiro, Horn, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3 and more. - Grade 2

SKU: CF.YPS222

Composed by Ed Kiefer. Folio. Yps. Set of Score and Parts. 8+8+2+8+8+4+2+6+4+2+2+4+4+4+6+6+4+6+1+1+4+4+2+20 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #YPS222. Published by Carl Fischer Music (CF.YPS222).

ISBN 9781491156629. UPC: 680160915163. 9 x 12 inches.

Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFacebook: The Music of Ed Kiefer.

(Requiem). By Hector Berlioz (1803-1869). Edited by Jurgen Kindermann. For tenor voice solo, SSTTBB choir, 4 flutes, 2 oboes, 2 english horns, 4 clarinets, 8 bassoons, 12 horns, 10 timpani, percussion, strings, orchestra 1: 4 cornets, 4 trombones, 2 tubas; orchestra 2: 4 trumpets, 4 trombones; orchestra 3: 4 trumpets, 4 trombone (Solo Tenor/Mixed Choir: SSTTBB/4 Flutes/2 Oboes/2 English Horns/4 Clarinets/8 Bassoons/12 Horns/10 Timpani/Percussion/Strings/first Orchestra: 4 Cornets a piston/4 Trombones/2 Tubas/second Orchestra: 4 Trumpets/4 Trombones/third Orchestra: 4 Trumpets/4 Tr). This edition: Clothbound, Complete edition, Urtext edition. Clothbound. New Berlioz Edition, Vol. 9. Requiem (lateinisch). Urtext der New Berlio Edition. Level 4. Score. Language: Latin. Opus 5, Hol. 75. 177 pages. Published by Baerenreiter Verlag

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5

SKU: CF.SPS85F

Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F).

ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.