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My way
Not classified 84

Piano & keyboards
Piano solo 111
Piano, Vocal and Guitar 13
Piano, Voice 10
C Instruments 5
Organ 3

Piano Quartet: piano, violin, viola, cello 2
Piano Quintet: piano, 2 violins, viola, cello 1
Piano Trio: piano, violin, cello 1
Organ, Trumpet (duet) 1
2 Pianos, 8 hands 1
1 Piano, 4 hands 1

+ 6 instrumentations

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Guitars
Guitar notes and tablatures 4
Guitar 3
Melody line, (Lyrics) and Chords 2
Dulcimer 1
2 Guitars (duet) 1

Bass guitar 1

+ 1 instrumentations

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Voice
Choral SATB 17
Choral TTBB 8
Choral SSAA 5
Soprano voice, Piano 3
Tenor voice 1

High voice 1
Choral Unison 1

+ 2 instrumentations

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Woodwind
Saxophone 7
Clarinet 7
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 6
Flute 4
Oboe (band part) 3

Alto Saxophone and Piano 3
Flute, Oboe, Clarinet, Bassoon 3
Alto Saxophone 3
Flute and Piano 3
2 Saxophones (duet) 2
Saxophone Quintet: 5 Saxophones 2
Flute Quartet: 4 flutes 2
Clarinet and Piano 2
Soprano Saxophone 1
Tenor Saxophone 1
2 Clarinets (duet) 1
3 Clarinets (trio) 1
Flute ensemble 1
Oboe, Piano (duet) 1
Saxophone and Organ 1
Recorder Quartet 1
Clarinet, Bassoon (duet) 1

+ 17 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 7
French horn 6
Brass quartet : 2 trumpets, trombone, tuba 6
Trombone 4

Trumpet, Piano 3

Trumpet 3
2 French horns (duet) 2
French Horn and Piano 2
Trumpet (band part) 2
Bass Trombone and Piano 1
Brass Quartet 1
Tuba and Piano 1
Trombone ensemble 1
Trombone and Piano 1
Euphonium, Piano (duet) 1
Tuba 1
Brass Quartet: 4 trombones 1

+ 12 instrumentations

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Strings
String Quartet: 2 violins, viola, cello 35
Violin and Piano 8
Violin 5
Cello, Piano 3
Harp 3

Viola 2
2 Violins (duet) 2
2 Cellos (duet) 2
Cello 2
2 Violas (duet) 1
Viola, Piano 1
Double bass, Piano (duet) 1
Violin, Guitar (duet) 1
Violin, Cello (duet) 1
Cello, String Bass (duet) 1

+ 10 instrumentations

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Percussion & orchestra
Orchestra 32
String Orchestra 13
Concert band 12
Chamber Orchestra 10
Jazz Ensemble 8

Brass ensemble 3
Drums 2
Jazz combo 2
Handbells 1
Piano and Orchestra 1
Marching band 1

+ 6 instrumentations

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My Way (Advanced Level) #Trombone #ADVANCED #Jazz #Frank Sinatra #My Way #Tomplay

Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...(+)

Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.

5.99€ ≈ £5.06

9.28.85

9.28.85 #Trombone #ADVANCED #Drake Mabry #9.28.85 #Drake Mabry #SheetMusicPlus

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #201...(+)

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchinâ€™s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as heâ€™s a wonderful musician, anything is possible, heâ€™s open to trying out new ideas and heâ€™s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited â€˜windowâ€™ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. Heâ€™s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between â€˜tsâ€™ and â€˜tshâ€™ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really â€˜speakâ€™ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.

$7.99 ≈ £6.09

Behavioral Science for trombone solo

Behavioral Science for trombone solo #Trombone #ADVANCED #Robert M #a most stimulating prospect #Behavioral Science for trombon #Robert M. Greenberg #SheetMusicPlus

Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Greenberg. 20th Century. Individual part. 11 pages. Robert M. Greenberg #...(+)

Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Greenberg. 20th Century. Individual part. 11 pages. Robert M. Greenberg #90287. Published by Robert M. Greenberg (A0.987850). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 14 minutes Year of composition: 1998 Program Note: Behavioral Science is in five continuous parts: Part 1: Misbehavior/Out of control Part 2: Vulgar Behavior/Gross stuff Part 3: Crisis of Confidence/Whining and whimpering Part 4: Behavior Becoming/Reflection and Introspection Part 5: With Flying Colors/Putting It All Together The initial inspiration for Behavioral Science was as follows: a few years ago, a trombonist friend of mine asked me if I wanted to join him and a few of da boys in attending the premiere of the Beavis and Butthead movie. Whoa. Beavis and Butthead with the low brass; a most stimulating prospect. A previous and, I'm sure, less interesting engagement kept me away, but the formative idea behind Behavioral Science was born: how do you civilize the eternal adolescent that is the trombone/trombonist without taking away its/his/her essential energy and joie de vivre? Behavioral Science, then, is about the trombone and, to a degree, trombone players themselves (which, by the way, I was once one myself and my daughter presently is). The piece begins with the trombone completely out of control - a raucous, screaming, stuttering length of lacquered plumbing. Across the span of the piece the trombone gradually learns lyricism and self-discipline, gaining maturity and, ultimately, self-mastery. Behavioral Science concludes with a series of extremely virtuosic passages that require, as they do, the most exacting control imaginable. Behavioral Science was composed between December, 1997 and February, 1998. It is dedicated with great affection and gratitude to Neil Hatler for his help, advice, and tireless dedication to the piece.

$16.00 ≈ £12.20

"Solfeggietto" by Carl P.E. Bach for Trombone (with Background Track)-Jazz/Pop Version

"Solfeggietto" by Carl P.E. Bach for Trombone (with Background Track)-Jazz/Pop Version #Trombone #ADVANCED #Classical #F & N Enterprise #"Solfeggietto" by Carl P.E. Ba #F & N Enterprise #SheetMusicPlus

Trombone Solo - Level 5 - Digital Download SKU: A0.634026 Arranged by F & N Enterprise. Film/TV,Jazz,Pop,World. Individual part. 3 pages. F & N Enterpris...(+)

Trombone Solo - Level 5 - Digital Download SKU: A0.634026 Arranged by F & N Enterprise. Film/TV,Jazz,Pop,World. Individual part. 3 pages. F & N Enterprise #3497209. Published by F & N Enterprise (A0.634026). An excellent arrangement of famous Solfeggietto by Carl Philipp Emanuel Bach for Trombone with Background Track-Jazz/Pop Version.The composition is easy to read, fun to play and sound professional when performed. Arranged by Fishel Pustilnik, very well known as Composer/Publisher. His books Jazz & Pop Piano Paradise (Volumes 1-5) have become a commercial success and a hit with music teachers and students in Canada. (Thousands books already sold in Canada). They are also starting to enter the US, Brazil, Norway, Russia, Holland, Israel, Belgium, Sweden, Finland, Greece, Latvia and UK markets. This is a wonderful new publication. These pieces offer much appeal for the young pianist and excellent choice for a supplementary book for students from Grade 3 to 8. Lore Ruschiensky, Editor, (from review in The Canadian Music Teacher) Yesterday I spent at least two pleasure filled hours playing through your imaginatively inventive compositions. Congratulations! I trust students will decide to program your well crafted and entertaining works on recitals and examinations. Review from Dr. Jack Behrens, B.Sc. (Julliard), PH.D (Harvard), Director of Academic Studies, The Glenn Gould School I liked this book the best so far. Great work! You have a gift for melody and your arrangements are very playable. Congratulations on the 3rd Volume. Mark Carlstein, Hal Leonard, Keyboard Publications.Additional Information regarding my arrangements at SheetMusicPlus: https://www.facebook.com/arrangementsofsheetmusic/

$1.99 ≈ £1.52