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12 sheet music found
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1
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Concert band
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EASY
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pa...
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Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.33€
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.33€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95 ≈
44.33€
Cantique de Jean Racine
Cantique de Jean Racine
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String Orchestra
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INTERMEDIATE
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Classical
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Gabriel Faure
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Michele Winter, mwmusicworks
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Cantique de Jean Racine
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MWMusicWorks.com
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.996559 Composed by Gabriel Faure. Arranged by Michele Winter, mwmusicworks.com. Romantic Period. Sc...
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String Orchestra - Level 3 - Digital Download SKU: A0.996559 Composed by Gabriel Faure. Arranged by Michele Winter, mwmusicworks.com. Romantic Period. Score and parts. 30 pages. MWMusicWorks.com #5316093. Published by MWMusicWorks.com (A0.996559). This arrangement for Grade 3.5 string orchestra is set in D major-up a half step from the original. The dynamics are Fauré’s. The bowings and articulations are editorial. The arrangement uses Fauré’s four vocal lines (SATB) and the harmonium part without its running triplets. Although the triplets have been left out, the harmonies and the cantabile character remain intact and convincing. None of the string parts go beyond 1st position, but players need to be familiar with extensions and unusual accidentals. Bow control and vibrato will contribute to a mature sound and help to dramatize the forte passages. This piece is perfect for concerts, festivals, and community events that require deeply moving music. Share Fauré’s glorious French romantic harmonies with your students and their audiences.
$30.00 ≈
27.73€
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95 ≈
15.67€
Best Part
Best Part
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String Orchestra
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EASY
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H
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Paulo Henrique
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Best Part
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Paulo Henrique
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SheetMusicPlus
String Orchestra - Level 2 - Digital Download SKU: A0.1274364 By H.E.R. By Ashton Simmonds, Gabriella Wilson, Jordan DC Evans, Matthew Burnett, and Riley...
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String Orchestra - Level 2 - Digital Download SKU: A0.1274364 By H.E.R. By Ashton Simmonds, Gabriella Wilson, Jordan DC Evans, Matthew Burnett, and Riley Bell. Arranged by Paulo Henrique. Contemporary,Jazz,Pop,Soul,Wedding. Score and Parts. 18 pages. Paulo Henrique #866504. Published by Paulo Henrique (A0.1274364). Best Part, Daniel Caesar Feat. H.e.r., Arrangement for String Orchestra, D Major, Score, Violin 1, Violin 2, Viola, Cello, Double Bass, Chords Guitar/Piano, Drum Set, Pop, R&B, Soul, Jazz, Wedding, Student Orchestra, String Students, Begginers.
$50.00 ≈
46.22€
Best Part
Best Part
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String Orchestra
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EASY
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H
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Paulo Henrique
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Best Part
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Paulo Henrique
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SheetMusicPlus
String Orchestra - Level 2 - Digital Download SKU: A0.1274359 By H.E.R. By Ashton Simmonds, Gabriella Wilson, Jordan DC Evans, Matthew Burnett, and Riley...
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String Orchestra - Level 2 - Digital Download SKU: A0.1274359 By H.E.R. By Ashton Simmonds, Gabriella Wilson, Jordan DC Evans, Matthew Burnett, and Riley Bell. Arranged by Paulo Henrique. Contemporary,Jazz,Pop,Soul,Wedding. Score and Parts. 28 pages. Paulo Henrique #866499. Published by Paulo Henrique (A0.1274359). Best Part, Daniel Caesar Feat. H.e.r., Arrangement for Alto, Tenor, String Orchestra, Piano/Guitar Chords and Drum Set, D Major, Score, Alto, Tenor, Violin 1, Violin 2, Viola, Cello, Double Bass, Guitar/Piano Chords, Drum Set, Pop, Soul, R&B, Jazz, Wedding.
$50.00 ≈
46.22€
Coventry Carol for Concert Band
Coventry Carol for Concert Band
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Concert band
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INTERMEDIATE
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Christmas
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Anon
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Robert Luke Thompson
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Coventry Carol for Concert Ban
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Monkspath Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.979775 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,T...
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Concert Band - Level 3 - Digital Download SKU: A0.979775 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Score and Parts. 38 pages. Monkspath Music #6098173. Published by Monkspath Music (A0.979775). The Coventry Carol originates from a medieval mystery play entitled The Pageant of the Shearmen and Tailors. The play depicts the Christmas story, from the Annunciation (where the Angel Gabriel appears to Mary), to the Massacre of the Innocents (where King Herod of Judea orders the death of all male infants near Bethlehem under the age of two). It is this tale that the Coventry Carol depicts, taking the form of a lullaby sung by the mothers of the murdered children. As is appropriate, the music is in a minor key – this arrangement uses G minor and D minor as a homage to well-known harmonisations by Thomas Sharp and Henry Walford Davies. It is unknown when the words were first set to music, but a proposed date is 1591, or earlier! Other interesting musical features include the use of a ‘Picardy third’, and ‘false relations’, contributing to the haunting quality of this enduring piece, both in the heart of the English Midlands, and further afield. This arrangement is suitable for all bands of beginner-intermediate ability or higher. There is plenty of interest for both experienced players, and for newcomers. The instrumentation is designed to facilitate both a full sound, but also for flexibility, which is often desired by school, youth, and amateur wind bands / concert bands / wind orchestras.
$39.99 ≈
36.97€
Coventry Carol for Orchestra
Coventry Carol for Orchestra
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Orchestra
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INTERMEDIATE
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Christmas
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Anon
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Robert Luke Thompson
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Coventry Carol for Orchestra
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Monkspath Music
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance...
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Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Score and Parts. 44 pages. Monkspath Music #6079181. Published by Monkspath Music (A0.979772). The Coventry Carol originates from a medieval mystery play entitled The Pageant of the Shearmen and Tailors. The play depicts the Christmas story, from the Annunciation (where the Angel Gabriel appears to Mary), to the Massacre of the Innocents (where King Herod of Judea orders the death of all male infants near Bethlehem under the age of two). It is this tale that the Coventry Carol depicts, taking the form of a lullaby sung by the mothers of the murdered children. As is appropriate, the music is in a minor key – this arrangement uses G minor and D minor as a homage to well-known harmonisations by Thomas Sharp and Henry Walford Davies. It is unknown when the words were first set to music, but a proposed date is 1591, or earlier! Other interesting musical features include the use of a ‘Picardy third’, and ‘false relations’, contributing to the haunting quality of this enduring piece, both in the heart of the English Midlands, and further afield. This arrangement is suitable for all orchestras of beginner-intermediate ability or higher. There is plenty of interest for both experienced players, and for newcomers. The instrumentation is designed to facilitate both a full sound, but also for flexibility, which is often desired by school, youth, and amateur orchestras. For further pieces, view the Monkspath Music catalogue and click here!
$39.99 ≈
36.97€
What it Means to Rise for Wind Symphony
What it Means to Rise for Wind Symphony
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Concert band
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ADVANCED
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Contemporary
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Gabrielle Liriano
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50 seconds.
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What it Means to Rise for Wind
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Art Haus Music Publishing
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1183110 Composed by Gabrielle Liriano. Classical,Contemporary. Score and parts. 100 pages. Art Haus Mus...
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Concert Band - Level 5 - Digital Download SKU: A0.1183110 Composed by Gabrielle Liriano. Classical,Contemporary. Score and parts. 100 pages. Art Haus Music Publishing #782832. Published by Art Haus Music Publishing (A0.1183110). This piece is about the messy path to growth and to becoming a new version of you. It’s about what it means to let go of everything you thought you knew, having it nearly destroy you and your identity before picking up the parts of a shattered, ripped up puzzle and putting something new and more beautiful together. This piece is about growing up and changing. It’s about having dared greatly with ones dreams, going into the jungle, and coming out the other side happy and safe and having proved that one is capable and able to take on the heavy obstacles of life.Instrumentation: Piccolo, Flute 1, Flute 2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Barirone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, Horn in F 2, Trombone 1, Trombone 2, Euphonium, Tuba, Glockenspiel, Percussion: Cymbal, Snare, Bass DrumFormat: Transposed Score in Tabloid (11'' x 17'')Duration: Approx. 6 minutes & 50 seconds.
$150.00 ≈
138.67€
Jump In The Line
Jump In The Line
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Concert band
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INTERMEDIATE
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Cherry Poppin Daddies
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Patrick Jillett
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Jump In The Line
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Patrick Jillett
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1451101 By Cherry Poppin Daddies. By Gabriel Oller, Harry Belafonte, Jeff Simmons, Ralph De Leon, Steve...
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Concert Band - Level 3 - Digital Download SKU: A0.1451101 By Cherry Poppin Daddies. By Gabriel Oller, Harry Belafonte, Jeff Simmons, Ralph De Leon, Steve Primatic, and Steve Samuel. Arranged by Patrick Jillett. 20th Century,Contest,Festival,Latin,Multicultural,Pop,World. 42 pages. Patrick Jillett #1030555. Published by Patrick Jillett (A0.1451101). Jump in the Line (Shake, Señora) is a calypso song composed, by a Lord Kitchener on November 17, 1961, from the album “Jump Up Calypso” Most famously recorded by singer Harry Belafonte in 1961. Appropriate for a variety of occasions, it is striking, memorable piece for any concert bands repertoire, and can be used as a method to teach elements of the calypso music genre. It is in the key of C major, beginning with slow melodic riff introduction, played by the woodwinds, establishing a stable calypso style. The rest of the piece gains pace as the remainder of he band joins in with rhythmic and melodic ostinto in a ABA form. “Jump in the Line (Shake, Señora)” uses medium concert band skill level, perfect for learning and mastering calypso style.
$50.00 ≈
46.22€
Dance On A Volcano
Dance On A Volcano
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Concert band
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ADVANCED
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Mike Rutherford, Phil Collins,
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David Beal
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Dance On A Volcano
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Larch Music Ltd.
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1362159 Composed by Mike Rutherford, Phil Collins, Steven Hackett, and Tony Banks. Arranged by David Be...
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Concert Band - Level 5 - Digital Download SKU: A0.1362159 Composed by Mike Rutherford, Phil Collins, Steven Hackett, and Tony Banks. Arranged by David Beal. 20th Century,Contemporary,Pop,Rock. 170 pages. Larch Music Ltd. #946635. Published by Larch Music Ltd. (A0.1362159). A Trick of the Tail is the seventh studio album by English progressive rock band Genesis. It was released on 13 February 1976 on Charisma Records and was the first album to feature drummer Phil Collins as lead vocalist following the departure of Peter Gabriel. It was a critical and commercial success in the UK and U.S., reaching No. 3 and No. 31 respectively. The opening track, Dance on a Volcano, was the first song written for the album. Rutherford felt that, in contrast to the material on The Lamb..., it was easy to write, and was intended to show how Genesis would move forward.Now available for Concert BandScored for: Â Piccolo Flute Oboe Bassoon 3 x Bb Clarinet Alto Clarinet Bass Clarinet 2 x Alto Saxophone Tenor Saxophone Baritone Saxophone# 3 x Bb Trumpet 2 x Horn in F (Eb Part included) 2 x Tenor Trombone (Bb Part included) Bass Trombone Baritone (Bass Clef) Baritone (Treble Clef) Tuba (Eb & Bb Parts included) Bass Guitar Drum Kit Tuned Percussion Timpani.
$60.00 ≈
55.47€
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Matériel D\'Orchestre
