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HOW GREAT THOU ART Euphonium
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You've selected:
HOW GREAT THOU ART Euphonium
Sheetmusic to print
16 sheet music found
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1
How Great Thou Art
How Great Thou Art
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Contemporary
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Martina McBride
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Chris North
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E-Flat
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How Great Thou Art
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Danetre Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.831691 By Martina McBride. By Adam Palmer, Matthew Hein, Stephanie Kulla, Stuart...
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Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.831691 By Martina McBride. By Adam Palmer, Matthew Hein, Stephanie Kulla, Stuart Hine, and Traditional Swedish Folk Tune. Arranged by Chris North. Contemporary. Score and parts. 10 pages. Danetre Music #5776885. Published by Danetre Music (A0.831691). Arranged as a duet with piano accompaniment. In concert key of C. Suitable for trumpet / cornet, euphonium, trombone etc. Treble and bass clef parts, as well as parts (second only) for horn in F & E-Flat. Duration 1:55.
$4.99 ≈
$6.72
How Great Thou Art - "O store Gud." - Easy Euphonium and Piano
How Great Thou Art - "O store Gud." - Easy Euphonium and Piano
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Sacred music
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Carl Gustav Boberg /Stuart K H
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Daniel H Rosa
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How Great Thou Art - "O store
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Daniel H Rosa
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SheetMusicPlus
Baritone Horn BC,Baritone Horn TC,Euphonium,Piano - Digital Download SKU: A0.1155924 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H ...
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Baritone Horn BC,Baritone Horn TC,Euphonium,Piano - Digital Download SKU: A0.1155924 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Rosa. Christian,Easter,Praise & Worship,Religious,Sacred. Score and part. 2 pages. Daniel H Rosa #756233. Published by Daniel H Rosa (A0.1155924). Easy Begginer solo.
$2.99 ≈
$4.03
How Great Thou Art - "O store Gud." - Easy Baritone Euphonium
How Great Thou Art - "O store Gud." - Easy Baritone Euphonium
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Sacred music
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Carl Gustav Boberg /Stuart K H
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Daniel H Rosa
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How Great Thou Art - "O store
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Daniel H Rosa
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SheetMusicPlus
Baritone Horn BC Solo,Baritone Horn TC Solo - Level 1 - Digital Download SKU: A0.1155850 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Danie...
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Baritone Horn BC Solo,Baritone Horn TC Solo - Level 1 - Digital Download SKU: A0.1155850 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Rosa. Christian,Easter,Praise & Worship,Religious,Sacred. Individual part. 1 pages. Daniel H Rosa #756157. Published by Daniel H Rosa (A0.1155850). Easy Begginer solo.
$1.99 ≈
$2.68
How Great Thou Art - "O store Gud." - Easy Baritone and Piano
How Great Thou Art - "O store Gud." - Easy Baritone and Piano
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Sacred music
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Carl Gustav Boberg /Stuart K H
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Daniel H Rosa
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How Great Thou Art - "O store
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Daniel H Rosa
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SheetMusicPlus
Baritone Horn BC,Baritone Horn TC/Euphonium,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.1155905 Composed by Carl Gustav Boberg /Stuart K...
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Baritone Horn BC,Baritone Horn TC/Euphonium,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.1155905 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Rosa. Christian,Easter,Praise & Worship,Religious,Sacred. Score and individual part. 2 pages. Daniel H Rosa #756215. Published by Daniel H Rosa (A0.1155905). Easy Begginer solo.
$2.99 ≈
$4.03
Bach: Bist du bei mir BWV 508 for Baritone Horn & Piano
Bach: Bist du bei mir BWV 508 for Baritone Horn & Piano
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Classical
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Johann Sebastian Bach
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James M
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Bach: Bist du bei mir BWV 508
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552847 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baro...
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552847 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468186. Published by jmsgu3 (A0.552847). J. S. Bach BWV 508  Score: 5 pages, Solo part: 1 page. Piano part: 2 pages. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo. He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95 ≈
$44.40
10 Easy Summer Duets for Euphonium
10 Easy Summer Duets for Euphonium
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David McKeown
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10 Easy Summer Duets for Eupho
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David McKeown
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SheetMusicPlus
Instrumental Duet Euphonium,Instrumental Duet - Level 2 - Digital Download SKU: A0.591010 Composed by David McKeown. 20th Century,Contemporary,Instructio...
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Instrumental Duet Euphonium,Instrumental Duet - Level 2 - Digital Download SKU: A0.591010 Composed by David McKeown. 20th Century,Contemporary,Instructional,Standards. Score and parts. 12 pages. David McKeown #6269765. Published by David McKeown (A0.591010). 10 Easy Summer Duets are beautiful new and original compositions by David McKeown arranged for Euphoniums (in B Flat, Treble Clef).They can be played at any time of year, in the Summer to celebrate the season, or in the Winter, to remind yourself of warmer days! The duets are mixed ability, with the top part set for players at an easy to early intermediate standard, and the bottom part to be played by a teacher or intermediate player. Click on the link above to hear samples of these duets performed on YouTube, performed on Clarinet.10 Easy Summer Duets arePerfect for concert performances large and small; Fully articulated to help develop that sense of style; Great for helping with simple rhythms and keeping the pulse; Road tested with students; Fun to play; The titles provoke mental pictures that connect with the student’s musical imagination; The ten titles are, Up with the Birds, The View from the Top, Summer Shower, Cotton-Wool Clouds, Pooh Sticks, Riding My Bike, Wave-Walking, Sandcastles, Dozing in the Deck-Chair and Sunset 9pm.There are thousands more duets available for all standards and styles, in many different instrumental combinations athttps://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.99 ≈
$10.77
Schubert: Moment Musicaux for Baritone Horn & Piano
Schubert: Moment Musicaux for Baritone Horn & Piano
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Classical
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Franz Schubert
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James M
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Schubert: Moment Musicaux for
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Rom...
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447443. Published by jmsgu3 (A0.552841). Baritone Horn version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95 ≈
$44.40
Playing in the High Register- For Trumpet
Playing in the High Register- For Trumpet
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Josh Rogan
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Playing in the High Register-
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Josh Rogan
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trumpet - Level 3 - Digital Download SKU: A0.933722 Composed by Josh Rogan. Contemporary,Instructional. Score and parts. 66...
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Brass Ensemble Euphonium,Horn,Trumpet - Level 3 - Digital Download SKU: A0.933722 Composed by Josh Rogan. Contemporary,Instructional. Score and parts. 66 pages. Josh Rogan #6519923. Published by Josh Rogan (A0.933722). Playing in the High Register is a book for anyone who is struggling to play into and above the stave on trumpet. It is intended for classical style players who want to build consistency in the upper register and sound great without struggling.Each exercise has a detailed description of the purpose of the exercise, how you should approach playing it, and detailed notes to inform any reader how to make these exercises successful.If you are looking to play into the extreme high register (far above high C), then this book probably won’t be what you’re looking for. If you want to be able to sound great playing in the full range of the classical trumpet, and not be worried by a high entrance or getting fatigued, then this is exactly why I wrote this book.Work on your high register by working on your fundamentals. Learn how to listen for signs of poor technique, and understand how to engage your body in the best way to play in the high register with a healthy, confident approach.
$24.99 ≈
$33.67
Monteverdi - The Seventh Book of Madrigals (1619) - 33. Tirsi e Clori
Monteverdi - The Seventh Book of Madrigals (1619) - 33. Tirsi e Clori
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Classical
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Seventh Book
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble E-Flat Tuba TC,Euphonium,Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.767368 Composed by Claudio Monteverdi. Arranged by Mik...
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Brass Ensemble E-Flat Tuba TC,Euphonium,Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.767368 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 77 pages. Lyons Music Services #3557567. Published by Lyons Music Services (A0.767368). At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.This section of the 7th book is really a miniature scena (although Monteverdi describes it as a ballet), telling the story of Tirsi and Clori (Thyrsis and Chloris) two lovers from ancient greek myths. This piece is the final section of Tirsi e Clori, which Monteverdi describes as the Ballo (Dance) where all the characters in the story provide a spectacle of celebration at the end of the performance. There is a short (12 measure) section forming an introduction at a slow tempo, followed by a 1-in-a-bar dance, a change occurs at measure 113 to simple duple time before returning to a rousing reprise of the lively 3/2 music. The whole is brought to a rousing conclusion with a long cadence in what is rapidly approaching the Baroque style.The instruments are divided between two 'choirs' a 5-part one, representing the singers (Cantus,Quintus, Alto, Tenor and Bass) and a four part accompanying group representing the continuo. There is also an optional percussion part, as the original would have been so accompanied, even though it was not notated in the score.At just over 8 minutes in length, this is a great finisher for a concert - or, in the right circumstances, a starter - especially as Monteverdi has made the ending very loud and full.The seventh book has been a challenge. The much more intricate music, showing Monteverdi's development towards a true operatic technique requires a really careful study of his orchestrations. It has been a great pleasure to set this music and I hope lots of ensembles will 'give it a go'!
$12.99 ≈
$17.50
Pitch Only - Bass Clef (Sight Reading Exercise Book)
Pitch Only - Bass Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Pian...
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - Digital Download SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00 ≈
$13.48
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00 ≈
$13.48
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Bass Clef,
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - Digital Download SKU: ...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - Digital Download SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00 ≈
$13.48
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
$13.48
Anew
Anew
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Jonathan P
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Anew
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Jonathan Kochik Music, LLC
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SheetMusicPlus
Euphonium,Low Brass Quartet,Tuba - Level 3 - Digital Download SKU: A0.1451869 Composed by Jonathan P. Kochik (ASCAP). Chamber. 29 pages. Jonathan Kochik ...
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Euphonium,Low Brass Quartet,Tuba - Level 3 - Digital Download SKU: A0.1451869 Composed by Jonathan P. Kochik (ASCAP). Chamber. 29 pages. Jonathan Kochik Music, LLC #1031179. Published by Jonathan Kochik Music, LLC (A0.1451869). Times of change are not always easy to go through in life. Maybe you have become comfortable with the way things are or, perhaps, you are so scared of change that just thinking about it gives you anxiety, but not all change is bad change. If we take a moment to observe the natural occurrences that take place around us every day – sunrises and sunsets, tides coming in and going out, the transformation of winter to spring – we can begin to see that change is a necessary part of growing and developing into who we. However, these moments in your life are not always easy ones. Anew explores the journey of someone experiencing a moment of great change in their life. What sort of emotions are they feeling? What thoughts are going through their head? As someone who has gone through a big shift in my career path, I wanted to compose a piece to help me process my emotions and organize the thoughts in my head on why I felt this change needed to happen. Having the motto “words fail music speaks,” I was inspired as a composer by way of ostinato rhythms, melodic extension, and juxtaposed musical styles to help unpack what words simply could not quantify.
$50.00 ≈
$67.38
Heidenröslein: Variations on a Theme by Franz Schubert
Heidenröslein: Variations on a Theme by Franz Schubert
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Classical
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations on
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00 ≈
$26.95
N'oubliez pas!-Noskowski-Clarinet and Brass Quintet
N'oubliez pas!-Noskowski-Clarinet and Brass Quintet
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Z Noskowski
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Phil Beaman
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N'oubliez pas!-Noskowski-Clari
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Phil Beaman
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Euphonium,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.845277 Composed by Z Noskowski. Arranged by Phil Beaman. Conce...
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Small Ensemble B-Flat Clarinet,Euphonium,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.845277 Composed by Z Noskowski. Arranged by Phil Beaman. Concert,Romantic Period. Score and parts. 18 pages. Phil Beaman #6533123. Published by Phil Beaman (A0.845277). In 1897 the great Polish composer Zygmund Noskowski composed four characteristic pieces for piano, each piece evoking a different spring flower. This Instrumental Quintet arrangement is of N'oubliez pas! from Fleurs du Printemps, Op 48 (Forget-me-nots, from Flowers of Spring).As the name implies, it is expressive and melancholy. I have added considerable markings of articulation and dynamics and phrasing to bring out this expressiveness. There are numerous themes as it weaves between major and minor keys (without changing key signature). The upper three parts carry the melody and countermelodies, while part four is a moving arpeggiated line, and part five simply anchors the chordal root. Clarinet 1 carries the main melody with a wide range. Trumpet has the upper countermelody while Clarinet 2 takes the lower countermelody. Part 4, written in Bass Clef, can be played by Euphonium or Baritone Horn or Trombone, whoever is up to the challenge. The Tuba part is rather predictable. There is a fairly wide range (nearly 2 octaves) required in all of the parts. Accessible for the average player yet with enough markings and nuances to satisfy expert players with the results. Definitely a concert piece to show musicianship. 8 page score, 2 pages @part, 18 pages total2:50 minutes
$10.99 ≈
$14.81
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HOW GREAT THOU ART Euphonium
