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It Concert band, Choral
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Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
#
Concert band
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EASY
#
Giovanni Gabrieli
#
James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
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 ≈
43.98€
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
#
Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
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 ≈
43.98€
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
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 ≈
43.98€
Sarabande
Sarabande
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Concert band
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INTERMEDIATE
#
Classical
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George Frideric Handel
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James K
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Sarabande
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James K. Taylor
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1083576 Composed by George Frideric Handel. Arranged by James K. Taylor. Classical,Contest,Festival,Ins...
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Concert Band - Level 3 - Digital Download SKU: A0.1083576 Composed by George Frideric Handel. Arranged by James K. Taylor. Classical,Contest,Festival,Instructional,Multicultural,Romantic Period,World. Score and parts. 26 pages. James K. Taylor #687780. Published by James K. Taylor (A0.1083576). This is a beautiful but somber sounding piece. It is not very difficult, and it would also make a great warm-up choral, or music for a serious occasion. There is one staccato note that is played, but I did not write it in the music. I am sure you will hear it. I wrote this as a tribute to Francis McBeth, who judged my bands many times. He was a giant of composition. Enjoy.
$30.00 ≈
27.52€
Rhapsody for Concert Band
Rhapsody for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Classical
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Pub...
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Concert Band - Level 4 - Digital Download SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00 ≈
18.35€
Folk Song Chorales - for Concert Band
Folk Song Chorales - for Concert Band
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Concert band
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EASY
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Traditional / Various
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John McAllister
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Folk Song Chorales - for Conce
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John McAllister
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.778223 Composed by Traditional / Various. Arranged by John McAllister. Folk,Instructional,Traditional. ...
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Concert Band - Level 2 - Digital Download SKU: A0.778223 Composed by Traditional / Various. Arranged by John McAllister. Folk,Instructional,Traditional. Score and parts. 22 pages. John McAllister #6530985. Published by John McAllister (A0.778223). This music is a set of warm-up chorales for concert band, offering variety when warming up one's band. Bach is the standard when it comes to chorales, and folk song chorales can add a new melodies and harmonies to the fundamentals taught during warm-up. In arranging these chorales, harmonies more idiomatic to the modern day concert band scoring are used, especially at the Grade II/III level. The folk songs included are Loch Lomond, The Parting Glass, Slumber My Darling, and Scarborough Fair.
$30.00 ≈
27.52€
New Horizons March for concert band
New Horizons March for concert band
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Concert band
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INTERMEDIATE
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Contemporary
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Music by Jack Hossfeld and Jud
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New Horizons March for concert
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Judson Goodrich
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.890058 Composed by Music by Jack Hossfeld and Jud Goodrich, Lyrics by Tom Hitchcock. Contem...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.890058 Composed by Music by Jack Hossfeld and Jud Goodrich, Lyrics by Tom Hitchcock. Contemporary. Score. 1 pages. Judson Goodrich #26007. Published by Judson Goodrich (A0.890058). The New Horizons March was first performed at the New Horizons Band Camp in Chautauqua, N. Y., in 2004 under the direction of Dr. Roy Ernst, founder of the New Horizons International Music Association. The NHIMA now has over 180 concert bands, orchestras, and choral groups with 8,000 participants in 5 countries. Dr. Ernst has conducted the march at many New Horizons music camps.The first theme of the march is a vocal section which can be personalized by inserting the name of the local band in place of New Horizons Band. It has an alternate vocal score for non-New Horizons Bands which is a tribute to the New Horizons satellite. Dr. Ernst has provided the following suggestions for the Conductors:
$49.00 ≈
44.95€
Warm-up for Concert Band in Eb - Bach Chorale Arrangement - O Sacred Head
Warm-up for Concert Band in Eb - Bach Chorale Arrangement - O Sacred Head
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Concert band
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EASY
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Paul Gerhardt
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Sarah Wilson
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Warm-up for Concert Band in Eb
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Sarah Ruth Wilson
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.997120 Composed by Paul Gerhardt. Arranged by Sarah Wilson. Classical,Instructional,Sacred. Score and P...
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Concert Band - Level 2 - Digital Download SKU: A0.997120 Composed by Paul Gerhardt. Arranged by Sarah Wilson. Classical,Instructional,Sacred. Score and Parts. 22 pages. Sarah Ruth Wilson #5311097. Published by Sarah Ruth Wilson (A0.997120). This is a beautiful chorale arranged for concert band. It can be used for technical purposes (warming up/tuning, for example) or for a performance piece showcasing tone and sensitivity. It can be used art the beginning of every rehearsal, and performers can even sing their parts as an additional exercise. It is a sacred piece of music, but is completely appropriate for students and schools. I use it with my own concert bands. It would be appropriate in religious settings as well. The accompanying mp3 track can be used a a reference for learning the piece. It is brief, lasting about 1.25 minutes.
$5.00 ≈
4.59€
Tochter Zion - Choral & Shuffle - Concert Band
Tochter Zion - Choral & Shuffle - Concert Band
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Concert band
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INTERMEDIATE
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Classical
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George Frideric Handel
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Thomas Graf
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Tochter Zion - Choral & Shuffl
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.569299 Composed by George Frideric Handel. Arranged by Thomas Graf. Christmas,Jazz. Score and parts. 75...
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Concert Band - Level 3 - Digital Download SKU: A0.569299 Composed by George Frideric Handel. Arranged by Thomas Graf. Christmas,Jazz. Score and parts. 75 pages. Thomas Graf - the-hit-factory.com #4839083. Published by Thomas Graf - the-hit-factory.com (A0.569299). This concert piece starts with a classic choral auf Händel’s masterpiece, then comes the big surprise: A funky Back Beat with jazzy chords starts and will make your whole audience clap and dance. All parts are feature and even a solo for the bass part is included. It ends up in a cool finale. Drums are optional and may be substituted by a Cachon or even only clapping. A must for your upcoming concerts during holiday season! Instrumentation: Full Concert Band - Any special transposition can be prepared, Parts: A4, optimzed for Print aon A3, Score: A4 Listen to the recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much! Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N... Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic .
$40.00 ≈
36.69€
Abide With Me - arr. by David Catherwood for 4 Part Flexible Band/Ensemble with optional Percussion
Abide With Me - arr. by David Catherwood for 4 Part Flexible Band/Ensemble with optional Percussion
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Concert band
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INTERMEDIATE
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Contemporary
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WH Monk
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David Catherwood
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Abide With Me - arr. by David
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Opus 3 Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.739550 Composed by WH Monk. Arranged by David Catherwood. Contemporary. Score and parts. 19 pages. Opus...
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Concert Band - Level 3 - Digital Download SKU: A0.739550 Composed by WH Monk. Arranged by David Catherwood. Contemporary. Score and parts. 19 pages. Opus 3 Music #6575301. Published by Opus 3 Music (A0.739550). Abide with MeThis arrangement will be useful to accompany congregational or choral singing (as it is in suitable keys) or it can be used as a purely instrumental piece. After a short introduction the tune is presented simply - a key change before the final verse leads to a majestic presentation of the tune with an effective descant. This arrangement is suitable for school orchestras and ensembles as well as more experienced players. The arrangement allows for a great deal of flexibility in presentation and will sound complete with as few as four players yet the scoring allows for expansion up to a full symphonic orchestra, concert band or brass bandAs with all music available from Opus 3 Music this arrangement has been well tried and tested in performance - In this case by the Campbell College Orchestra where this orchestra of around forty players use arrangements such as this regularly in Services and concerts in the college.A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Oboe, Violin 1, Flute)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1/Cornet in Bb)Part 2 in C (Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone 1, Eb Horn 1)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone 2, Eb Horn 2)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Bb Bass Tuba (treble clef)Part for Bb EuphoniumPercussion
$9.50 ≈
8.71€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - full score
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - full score
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.533052 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instruction...
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Concert Band - Level 4 - Digital Download SKU: A0.533052 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 17 pages. Musik Fabrik Music Publishing #432815. Published by Musik Fabrik Music Publishing (A0.533052). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie†and a dedication “à L'Harmonie Municipale de Lyonâ€. The pages which followed contained the score of “Choral†for organ with optional brass and “Fugue†for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the full score. The woodwind parts and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.
$19.95 ≈
18.30€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - complete set of
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - complete set of
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.533051 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instruction...
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Concert Band - Level 4 - Digital Download SKU: A0.533051 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 72 pages. Musik Fabrik Music Publishing #432813. Published by Musik Fabrik Music Publishing (A0.533051). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie†and a dedication “à L'Harmonie Municipale de Lyonâ€. The pages which followed contained the score of “Choral†for organ with optional brass and “Fugue†for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete brass and percussion parts. The full score and the woodwind parts are available in two seperate sets. The individual parts are also available as separate items.
$65.00 ≈
59.62€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - complete set of
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - complete set of
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.533050 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instruction...
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Concert Band - Level 4 - Digital Download SKU: A0.533050 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 84 pages. Musik Fabrik Music Publishing #432811. Published by Musik Fabrik Music Publishing (A0.533050). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie†and a dedication “à L'Harmonie Municipale de Lyonâ€. The pages which followed contained the score of “Choral†for organ with optional brass and “Fugue†for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete woodwind parts. The full score and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.
$65.00 ≈
59.62€
Adagio Sym. No. 3 Arranged for Band
Adagio Sym. No. 3 Arranged for Band
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Concert band
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Classical
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Camille Saint-Saens
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Bud Caputo
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wind ensemble or with
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Adagio Sym. No. 3 Arranged for
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Bud Caputo
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.826668 Composed by Camille Saint-Saens. Arranged by Bud Caputo. Romantic Period,Standards. Score and parts. 28 pa...
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Concert Band - Digital Download SKU: A0.826668 Composed by Camille Saint-Saens. Arranged by Bud Caputo. Romantic Period,Standards. Score and parts. 28 pages. Bud Caputo #3691771. Published by Bud Caputo (A0.826668). The Symphony No. 3, the Organ Symphony of Camille Saint-Saëns is one of the most beautiful chorals from the orchestral repertoire. It is set here with minimal instrumentation, capable of being performed with a small wind ensemble or with the doubling of parts for a larger ensemble. Students will be challenged to maintain good breath control and intonation as the selection will require careful listening to balance the melody with all the supporting parts. .
$24.00 ≈
22.01€
It Is Well With My Soul
It Is Well With My Soul
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Concert band
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EASY
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Sacred music
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Phillip P
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Dana Usealman
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It Is Well With My Soul
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Dana Usealman
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.897950 Composed by Phillip P. Bliss. Arranged by Dana Usealman. Christian,Praise & Worship,Spiritual. S...
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Concert Band - Level 2 - Digital Download SKU: A0.897950 Composed by Phillip P. Bliss. Arranged by Dana Usealman. Christian,Praise & Worship,Spiritual. Score and parts. 20 pages. Dana Usealman #3861451. Published by Dana Usealman (A0.897950). It Well With My Soul for small Concert Band. Includes score and parts: Flute, Clarinet, Alto Sax 1, Alto Sax 2, Bb Trumpet, Trombone (or Baritone), Mallets, Bass Drum, and Cymbals. When I arranged this, I only had early elementary clarinet players so that part is entirely written below the break. It can be taken up an octave for more advanced players. There is a flute solo for your best flute player, it could also be omitted if necessary. The mallet part could also be omitted in a pinch. It Is Well With My Soul is a hymn penned by hymnist Horatio Spafford and composed by Philip Bliss. First published in Gospel Songs No. 2 by Ira Sankey and Bliss (1876), it is possibly the most influential and enduring in the Bliss repertoire and is often taken as a choral model, appearing in hymnals of a wide variety of Christian fellowships. Horatio Spafford's original lyrics are included below. I had verses 1, 2, 3, and 6 in mind for this arrangement: When peace like a river, attendeth my way,When sorrows like sea billows roll;Whatever my lot, Thou hast taught me to knowIt is well, it is well, with my soul.RefrainIt is well, (it is well),With my soul, (with my soul)It is well, it is well, with my soul.Though Satan should buffet, though trials should come,Let this blest assurance control,That Christ has regarded my helpless estate,And hath shed His own blood for my soul.My sin, oh, the bliss of this glorious thought!My sin, not in part but the whole,Is nailed to the cross, and I bear it no more,Praise the Lord, praise the Lord, O my soul!For me, be it Christ, be it Christ hence to live:If Jordan above me shall roll,No pang shall be mine, for in death as in life,Thou wilt whisper Thy peace to my soul.But Lord, 'tis for Thee, for Thy coming we wait,The sky, not the grave, is our goal;Oh, trump of the angel! Oh, voice of the Lord!Blessed hope, blessed rest of my soul.And Lord, haste the day when the faith shall be sight,The clouds be rolled back as a scroll;The trump shall resound, and the Lord shall descend,A song in the night, oh my soul!
$14.99 ≈
13.75€
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C - Score Only
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C - Score Only
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Concert band
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INTERMEDIATE
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George Frideric Handel
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Thomas Graf
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Messiah - Hallelujah - HWV 56
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1112084 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christma...
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Concert Band - Level 3 - Digital Download SKU: A0.1112084 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 15 pages. Thomas Graf - the-hit-factory.com #714268. Published by Thomas Graf - the-hit-factory.com (A0.1112084). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Soprano Alto Tenor Bass Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$10.00 ≈
9.17€
Messiah - Hallelujah - HWV 56 - Concert Band - C - Score Only
Messiah - Hallelujah - HWV 56 - Concert Band - C - Score Only
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Concert band
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INTERMEDIATE
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George Frideric Handel
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Thomas Graf
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Messiah - Hallelujah - HWV 56
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1112086 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christma...
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Concert Band - Level 3 - Digital Download SKU: A0.1112086 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 15 pages. Thomas Graf - the-hit-factory.com #714270. Published by Thomas Graf - the-hit-factory.com (A0.1112086). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$10.00 ≈
9.17€
Messiah - Hallelujah - HWV 56 - Concert Band - C
Messiah - Hallelujah - HWV 56 - Concert Band - C
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Concert band
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INTERMEDIATE
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George Frideric Handel
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Thomas Graf
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Messiah - Hallelujah - HWV 56
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1112074 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christma...
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Concert Band - Level 3 - Digital Download SKU: A0.1112074 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 75 pages. Thomas Graf - the-hit-factory.com #714263. Published by Thomas Graf - the-hit-factory.com (A0.1112074). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$25.00 ≈
22.93€
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C
Messiah - Hallelujah - HWV 56 - Concert Band with Choir - C
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Concert band
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INTERMEDIATE
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George Frideric Handel
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Thomas Graf
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Messiah - Hallelujah - HWV 56
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1112072 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christma...
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Concert Band - Level 3 - Digital Download SKU: A0.1112072 By George Frideric Handel. By George Frideric Handel. Arranged by Thomas Graf. Baroque,Christmas,Classical. Score and parts. 83 pages. Thomas Graf - the-hit-factory.com #714259. Published by Thomas Graf - the-hit-factory.com (A0.1112072). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter[n 2] by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. About this arrangement: Will work fine both with and without Choir. Vocal parts included. Instrumentation: Full Score Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F 1/3 Baritone 1 in Bb Baritone 2 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Timpani Soprano Alto Tenor Bass Piano Guitar cont Bass in Eb Bass in Bb Bass Guitar Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$30.00 ≈
27.52€
A Mighty Fortress (Concert Band)
A Mighty Fortress (Concert Band)
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Concert band
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INTERMEDIATE
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Classical
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Jubal's Lyre Music
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Martin Dicke
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A Mighty Fortress
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Jubal's Lyre Music Publishers
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.918905 By Jubal's Lyre Music. By Johann Pachelbel and Johann Sebastian Bach. Arranged by Martin Dicke. ...
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Concert Band - Level 3 - Digital Download SKU: A0.918905 By Jubal's Lyre Music. By Johann Pachelbel and Johann Sebastian Bach. Arranged by Martin Dicke. Baroque,Christian,Classical,Contest,Festival,Sacred. Score and Parts. 65 pages. Jubal's Lyre Music Publishers #6567815. Published by Jubal's Lyre Music Publishers (A0.918905). Here is a compelling setting of Martin Luther’s hymn A Mighty Fortress Is Our God (EIN FESTE BURG) by Johann Pachelbel (1653-1750). Originally composed for organ, it has been arranged for Concert Band with optional keyboard. Two harmonizations of the isometric version of the hymn are also provided. The first is a standard harmonization found in many hymnals. The second is based on the concluding Chorale of Cantata 80 by Johann Sebastian Bach (1685-1750). Including the music of both Bach and Pachelbel, this arrangement serves as an excellent introduction to the music of the Baroque era and the contributions of great Lutheran composers. It also provides opportunities to discuss the time of the Reformation. For worship the arrangement can be played alone or it can be used to accompany congregational singing. The Full Score is formatted for legal-size paper (8.5x14) while the parts are formatted for letter-size paper (8.5x11). Additional arrangements are available for Brass, Woodwind Quintet, and Strings. For more music and information, visit www.jubalslyre.com/music.
$40.00 ≈
36.69€
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