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No Time To Die for Concert Band Trumpet
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You've selected:
No Time To Die for Concert Band Trumpet
Concert band
Sheetmusic to print
6 sheet music found
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1
Je te veux by Erik Satie - Arranged for Concert Band
Je te veux by Erik Satie - Arranged for Concert Band
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Concert band
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INTERMEDIATE
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Classical
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Contemporary
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Erik Satie
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Alexandre CARLIN
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Je te veux by Erik Satie - Arr
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Alexandre CARLIN
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1121824 Composed by Erik Satie. Arranged by Alexandre CARLIN. 20th Century,Classical. Score and parts. ...
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Concert Band - Level 3 - Digital Download SKU: A0.1121824 Composed by Erik Satie. Arranged by Alexandre CARLIN. 20th Century,Classical. Score and parts. 115 pages. Alexandre CARLIN #723017. Published by Alexandre CARLIN (A0.1121824). Je te veux, transcription for Concert Band of Satie's charming waltz. Grade 3. All instruments parts provided : flute 1&2, oboe, bassoon, Bb clarinets 1/2, bass clarinet, alto saxophone 1&2, tenor saxophone, baritone saxophone, Bb trumpets 1&2, F horns, trombone 1&2, euphonium (in C, Bb & Bb T.C.), tuba, Bb bass, Eb bass, timpani, mallets, percussion. Duration : 4:50. 32 pages score. 83 pages of parts. Erik Satie, was a French composer and pianist born in Honfleur on May 17, 1866 and died in Paris on July 1st, 1925. Associated for a time with symbolism, but unclassifiable, it was recognized as a precursor of several movements, including neoclassicism, surrealism, minimalism and repetitive music Je te veux is a song by Erik Satie for the music, and Henry Pacory for the lyrics. This sentimental slow waltz was created at La Scala, in Paris, in 1903, for the singer Paulette Darty, for whom Erik Satie was for a time the accompanist. The song was recorded in 1925 by Yvonne George. Check my other works for Concert Band : Original works S0.113817 - Petite Rhapsodie Arrangements of major orchestral works S0.659581 - Funeral March of a marionette (Gounod) S0.654713 - Hungarian Dance No.3 (Brahms) S0.631535 - Angelus (Massenet) Parade Marches S0.595771 - Pile ou Face (Heads or Tails) S0.595719 - Funny March' S0.594563 - Easy Parade And more to come ... My publisher's page https://www.sheetmusicplus.com/publishers/alexandre-carlin/3119 My YouTube Channel https://www.youtube.com/channel/UC3BrFxLrQ4usgnIGGx6xXEQ Please like, share and subscribe for more works for Concert Band. www.alexandrecarlin.com.
$39.99 ≈
¥290.30
The Storms of Time
The Storms of Time
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Concert band
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INTERMEDIATE/ADVANCED
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Richard E Brown
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-
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The Storms of Time
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Dacker Music
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.814727 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 170 pages. Dacker Music #2...
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Concert Band - Level 4 - Digital Download SKU: A0.814727 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 170 pages. Dacker Music #2968173. Published by Dacker Music (A0.814727). The Storms of Time was commissioned by a high school band in Ohio as a memorial to a band member who died in a traffic accident. Although the piece is built on motivic development and has no specific program, the solo alto sax represents the dedicatee, who played that instrument, and the other soloists represent her friends, who express their sense of first loss, then resignation and acceptance after her voice suddenly falls silent near the end.The piece is in ternary form: slow-fast-slow. Slow sections are lyrical and thinly scored, fast section very rhythmic with much mixed irregular meter. Several exposed solos for flute, clarinet, bassoon, and especially alto sax, plus short ones for oboe and trumpet.The price includes license to make as many copies of each part as necessary.Grade 4+ - Duration 6:45
$65.00 ≈
¥471.85
Rosemary - "That's for remembrance...."
Rosemary - "That's for remembrance...."
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Concert band
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INTERMEDIATE
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Classical
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Edward Elgar
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Joel Jacklich (A
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Rosemary - "That's for remembr
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Joel Jacklich
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1035592 Composed by Edward Elgar. Arranged by Joel Jacklich (A.S.C.A.P.). Romantic Period. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.1035592 Composed by Edward Elgar. Arranged by Joel Jacklich (A.S.C.A.P.). Romantic Period. Score and parts. 76 pages. Joel Jacklich #640816. Published by Joel Jacklich (A0.1035592). PROGRAM NOTE: Rosemary - That's for remembrance.... In 1882, Sir Edward Elgar jotted down in his musical notebook a piano piece he titled Douce Pensée (Sweet Thought). There it remained until 1913 when he got it out again, revised it slightly, re-titled it Rosemary - That's for remembrance, and published it for the first time. The title comes from Ophelia's Garland Speech in Shakespeare's Hamlet, where she says, There's rosemary, that's for remembrance. Pray you, love, remember. In 1915, the First World War had been raging in Europe for a year, and many British composers and poets had turned to artistic means to mourn those who died in the trenches of across the Channel. Elgar orchestrated the work at that time. In 1925, London publisher W. Paxton published arrangements by C. Jenkins made for brass and reed band and for military band; however, these are now out of print and no longer available. In the fall of 2015, Mitch Sturman, director of the Wilson Junior High School Warrior Band in El Centro, California, asked me to make an arrangement of Rosemary for the Eighth Annual Concert of Premieres, a series Sturman had begun in 2008, commissioning new works by known composers, and commissioning new arrangements of pieces he felt were worthy works in the public domain that were no longer in print and/or were written for ensembles containing instruments no longer part of the standard modern band or orchestra. INSTRUMENTATION: Flute I (4), Flute II (4), Oboe (1), Clarinet I (4), Clarinet II (4), Clarinet III (4), Bass Clarinet (1), Bassoon (1), Alto Saxophone (4), Tenor Saxophone (2), Baritone Saxophone (1); Trumpet I (3), Trumpet II (3), French Horn (2), Baritone Horn T.C. (2), Baritone Horn B.C. (2), Trombone (6), Tuba (2); Timpani [F2, B-flat 2] (1), Snare Drum (1),Triange (1), Suspended Cymbal (1), Bass Drum (1), Glockenspiel (1). Joel Jacklich May 21, 2015 El Centro, California.
$50.00 ≈
¥362.96
The Cross Kirk and the lang walk
The Cross Kirk and the lang walk
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Concert band
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INTERMEDIATE
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Graham Hamilton
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The Cross Kirk and the lang wa
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Hambone Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1438470 By Graham Hamilton. By Graham Hamilton. 21st Century,Classical,Contest,Festival,Historic,Mediev...
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Concert Band - Level 3 - Digital Download SKU: A0.1438470 By Graham Hamilton. By Graham Hamilton. 21st Century,Classical,Contest,Festival,Historic,Medieval. 93 pages. Hambone Music #1018489. Published by Hambone Music (A0.1438470). A beautiful slow melody in 4/4 followed by a rousing 6/4 trek with fanfares then returning to the slow melody in 4/4. Not overly difficult but players should be around Grade 5 (ABRSM) and intermediate level concert bands, school bands and symphonic wind ensembles should manage it easily. Inspired by an old ruined church in my town called the 'Cross Kirk' during the times of the Cromwellian invasion of Scotland.Part 1 It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery.Part 2 It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme.Part 3 The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights. The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination.Part 4 The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters . As he closes his eyes, his mind returns to the knights and a smile crosses his face as he gently drifts off to sleep, as the final bell of the day tolls.
$40.00 ≈
¥290.37
Our Flirtations
Our Flirtations
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Concert band
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INTERMEDIATE/ADVANCED
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John Philip Sousa
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Wesley Besancon
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Our Flirtations
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts...
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Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation†is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.†Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.
$14.99 ≈
¥108.82
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