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5 sheet music found Moondances
Moondances # Trumpet # INTERMEDIATE/ADVANCED # Jason Taurins # Moondances # Jason Allan Taurins # SheetMusicPlus
Piano,Trumpet - Level 4 - Digital Download SKU: A0.934482 Composed by Jason Taurins. Concert,Contemporary. Score and part. 18 pages. Jason Allan Taurins ...(+)
Piano,Trumpet - Level 4 - Digital Download SKU: A0.934482 Composed by Jason Taurins. Concert,Contemporary. Score and part. 18 pages. Jason Allan Taurins #3379657. Published by Jason Allan Taurins (A0.934482). Moondances is a set of 6 bagatelles for trumpet and piano. Aimed at the advancing high school or college trumpet player, the six movements can be played in their entirety or in subsets. At 8:30 in length, it would be perfect for a recital!The musical material for much of the piece is based on pieces I wrote for my undergraduate composition courses at Western Michigan University, but reworked and expanded. The fifth and sixth movements are entirely brand new music I composed to round out the suite. Underpinning all movements is a dark and sad feeling, but with rhythmic energy.Movement I, titled Moondrunk, is a reference to Schoenberg’s Pierrot Lunaire. It’s an absurd, dissonant, and drunk-feeling dance. Movement II, A Stroll in the Moonlight, shows off the lyrical, expressive, and reflective nature of the trumpet with cup mute. The title is a reference to Hogwarts teacher Professor Lupin, who, within the Harry Potter universe, is a werewolf. The music does not reflect this. In Movement III, Death Dances in the Dark, I experimented with using a highly-chromatic melody which is incorrectly harmonized by D minor chords. The piano and trumpet combine at shocking points in octaves and rhythmic unison to create an unsettling effect. Movement IV, titled Melancholy Memories, is based on a movement of a song cycle I wrote in college. It is at points lovely and unsettling, with a sense of nostalgia.Movement V, titled Dimensions (Pablo’s Dream), is a tribute to my love of the paintings of Pablo Picasso. His cubist works attempted to show multiple perspectives of objects simultaneously. The whole movement is a large palindrome, with smaller palindromes placed in it. To accomplish this musically, I used a twelve-tone row, parallelism in the piano part, and various palindromes in the form. The row is intervallically the same forward and backward. I composed the rhythmic material in the first section stream-of-conscious style, and filled in the pitches. The piano accompaniment is in parallel major chords on each note of the row. The melody at letter H uses the row transposed up a tritone, and parallel minor chords in the accompaniment.The final movement, Chase, shows off the virtuosity of the trumpeter. A common theme of dreams is the chase. These are often quite terrifying, at least in my experience. The back-and-forth nature of chases is explored rhythmically in the opening bars. Phrases of different length and dissonant harmonies are unsettling. A bold cry of terror is heard throughout the movement, harmonized by a chord with a perfect fifth and an augmented fifth. Descending and ascending scales wake up the terrified dreamer, and the music never fully resolves. A Billings Triptych - for 8-Part Brass Choir
A Billings Triptych - for 8-Part Brass Choir # Brass quartet : 2 trumpets, trombone, tuba # INTERMEDIATE # William Billings # Mike Allsen # A Billings Triptych - for 8-Pa # Aaron Hettinga # SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,P...(+)
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615). William Billings (1746-1800) was North America’s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching “singing-schools,†where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billings’s works were hymns or “psalm tunes.†He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings “psalm tunes,†Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Master’s Assistant during the height of the war in 1778, Billings added a verse calling out the “infernal league†of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schuman’s 1957 band piece A New England Triptych. Billings also composed over 50 “fuging-tunesâ€â€”a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn “When I With Pleasing Wonder Stand†though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn “Now Shall My Inward Joys Arise.†I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.