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What I Got
Not classified 56

Piano & keyboards
Piano solo 58
Piano, Vocal and Guitar 37
Piano, Voice 26
Organ 8
Easy Piano 6

C Instruments 3
Big Note Piano 1
2 Pianos, 4 hands 1
Piano Quartet: piano, 2 violins, cello 1

+ 4 instrumentations

- Retract

Guitars
Guitar notes and tablatures 28
Melody line, (Lyrics) and Chords 9
Lyrics and Chords 8
Bass guitar 6
Ukulele 5

Guitar 4
Mandolin 2

+ 2 instrumentations

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Voice
Choral SATB 11
Choral 3-part 4
Choral SSAA 3
Vocal duet, Piano 2
Choral TTBB 2

Choral 2-part 1
Choral SSAATTBB 1

+ 2 instrumentations

- Retract

Woodwind
Saxophone Quartet: 4 saxophones 5
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 4
Clarinet Quartet: 4 clarinets 3
Alto Saxophone 3
Saxophone (band part) 3

Flute, Oboe, Clarinet, Bassoon 3
Clarinet, Guitar (duet) 2
2 Saxophones (duet) 1
Flute 1
Oboe (band part) 1
Flute Quartet: 4 flutes 1
Flute ensemble 1
Clarinet and Piano 1
Clarinet Quintet: 5 clarinets 1
Clarinet 1
Recorder Ensemble 1
Saxophone Quintet: 5 Saxophones 1
Oboe, Piano (duet) 1
Tenor Saxophone and Piano 1
English Horn 1
2 Flutes (duet) 1
Alto Saxophone and Piano 1
Flute and Piano 1

+ 18 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 4
Brass quartet : 2 trumpets, trombone, tuba 4
Trumpet (band part) 2
Trombone 2
Bass Trombone and Piano 1

French horn 1
English Horn 1
Trombone and Piano 1
Trumpet, Piano 1
Tuba 1
Euphonium, Piano (duet) 1

+ 6 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 17
String Trio: violin, viola, cello 7
Violin, Cello (duet) 5
Violin 3
String Trio: 2 violins, viola 3

Cello (band part) 3
Violin and Piano 2
2 Violas (duet) 1
Viola 1
2 Cellos (duet) 1
Harp, Voice 1
String Trio: 3 cellos 1

+ 7 instrumentations

- Retract

Percussion & orchestra
Concert band 16
String Orchestra 8
Jazz Ensemble 5
Jazz combo 5
Orchestra 4

Brass ensemble 2
Drums 2
Percussion Ensemble 2

Drum (band part) 2
School Ensemble 1
Piano and Orchestra 1
Chamber Orchestra 1

+ 7 instrumentations

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What I Got

Percussion Ensemble

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2 sheet music found

Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion (Mallet) Quartet

Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion (Mallet) Quartet #Percussion Ensemble #INTERMEDIATE #Instructional #Joshua Hauser # #Donut Etudes vol. 3: Don’t S #Slide Ride #SheetMusicPlus

Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673....(+)

Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Slide Ride (A0.784338). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

$5.00 ≈ 4.61€

Two Dreams for solo Trombone and 8-part Percussion Ensemble

Two Dreams for solo Trombone and 8-part Percussion Ensemble #Percussion Ensemble #ADVANCED #Antonio J #Two Dreams for solo Trombone a #Gordon Cherry #SheetMusicPlus

Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages....(+)

Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #6549777. Published by Gordon Cherry (A0.811252). Two Dreams for Trombone and Percussion EnsembleDr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some playersâ€™ parts (within the eight total in the percussion ensemble) are indeed easier.The two Movements are approximately five minutes each.The first Movement Bilita Mpash (An Amazing Dream) calls for (1) shekerÃ©/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.Bilita Mpash (An Amazing Dream)The 3-2 Rumba Clave anchors this movement, launched by the shekerÃ©. Rhythmic vamps of multiple bars form the landscape over which the tromboneâ€™s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten2. Running with the TigersThe opening, written-out marimba solo is somewhat of a nod to vibist Gary Burtonâ€™s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionistsâ€™ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.-Antonio J. GarcÃaInstrumentation is for:Solo Trombone and 8-part Percussion Ensemble:shekerÃ©/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.This rhythmic and dramatic work includes improvisation by the Trombonist. Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.

$50.00 ≈ 46.15€