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At the End of the Day Tuba
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At the End of the Day Tuba
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Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
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Tuba ensemble
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INTERMEDIATE
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Jazz
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Glenn Miller
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Keith Terrett
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Moonlight Serenade for Tuba Qu
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Music for all Occasions
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SheetMusicPlus
Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-t...
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Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.
The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.
In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.
The recording was also issued as a V-Disc, No. 39A, in November 1943.
The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".
The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".
"Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.
A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.
"Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.
Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).
"Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.
Wartime release:
The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99 ≈
12.00€
The Last Post
The Last Post
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Traditional
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Fiona Hickie
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The Last Post
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Fiona Alice Hickie
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.738042 Composed by Traditional. Arranged by Fiona Hickie. Contemporary,Patrioti...
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Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.738042 Composed by Traditional. Arranged by Fiona Hickie. Contemporary,Patriotic. Score and parts. 7 pages. Fiona Alice Hickie #4356811. Published by Fiona Alice Hickie (A0.738042). A bugle call that signifies the end of the day. It is also played at funerals and at commemorative services such as Remembrance Day and ANZAC Day. Here is is arranged for brass quintet: trumpet 1, trumpet 2, trombone and tuba.
$10.00 ≈
9.24€
The Charleston (1923) for Brass Quintet
The Charleston (1923) for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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James P
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Charles Decker
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The Charleston
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1276031 Composed by James P. Johnson. Arranged by Ch...
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Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1276031 Composed by James P. Johnson. Arranged by Charles Decker. 20th Century,Broadway,Film/TV,Musical/Show,Pop,Ragtime. 21 pages. Charles Decker Music Press #867780. Published by Charles Decker Music Press (A0.1276031). From the Music of Black Composers Series at Charles Decker Music Press is the “The Charleston†which debuted in James P. Johnson’s Broadway 1923 show “Runnin’ Wild†to become the wildly popular and unofficial anthem of the Roaring 20’s.  An important jazz pianist and composer, Johnson was a major influence on Count Basie, Duke Ellington, Art Tatum, Thelonious Monk, and Fats Waller.  Arranged for a brass quintet of two B-flat trumpets with alternate C trumpet parts, horn in F with a substitute flugelhorn part, trombone or euphonium and tuba, the arrangement uses the original 1923 piano edition and retains the style of the day. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. These pieces are now permanently in my quintet book and I will be using them with my student groups as well. Highly recommended!â€Â  Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music “I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.â€Â Joseph Parisi, Director Summit Brass, FountainCity Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.For more brass quintet editions by Charles Decker use these links to Kendor Music and Cherry Classics Music for listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.
$9.99 ≈
9.23€
The Glastry Pearl. Tone Poem Elegy For My Mum.
The Glastry Pearl. Tone Poem Elegy For My Mum.
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Orchestra
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ADVANCED
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Geraldine
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The Glastry Pearl. Tone Poem E
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00 ≈
184.77€
King Of The Road for Classical Brass Quintet
King Of The Road for Classical Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Rock
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Randy Travis, Roger Miller
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Keith Terrett
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King Of The Road for Classical
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Music for all Occasions
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SheetMusicPlus
Brass Quintet - Intermediate - Digital Download By Randy Travis, Roger Miller. Arranged by Keith Terrett. Individual Part, Score, Set of Parts. 8 pages. Pu...
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Brass Quintet - Intermediate - Digital Download By Randy Travis, Roger Miller. Arranged by Keith Terrett. Individual Part, Score, Set of Parts. 8 pages. Published by Music for all Occasions
An arrangement of the evergreen top hit song from 1964 ''King of the Road'', set for classical Brass Quintet.
"King of the Road" is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a "man of means by no means"), revels in his freedom, describing himself humorously and cynically as the "king of the road". It was Miller's fifth single for Smash Records.
The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, "Trailers for sale or rent".[6] This would become the opening line of the song.
The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright and Teddy Thompson, Giant Sand, Peligro, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James "The King" Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV.[7] Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, "If there was any justice in the world, Roger Miller should be able to sue for what we did to this song."
"King of the Road" was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.
The song is featured in Wim Wenders' 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The recording by The Proclaimers is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is "Roger Miller, King of Plugs".
Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.
A send-up version by English entertainer Billy Howard was a British chart hit in 1976.
A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.
$14.99 ≈
13.85€
Fifteen Safari Duets for Tubas
Fifteen Safari Duets for Tubas
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2 Tubas (duet)
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EASY
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Jazz
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova US...
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.
In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.
1. Elephants at Stave
This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.
2. Gallop – Thompson Gazelle at Amboseli
This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya.
3. Rhinos at Nairobi Game Park
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.
4. Giraffes at Nairobi Twiga Park
This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.
5. Warthogs at Ngulia
Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.
6. Baboons at Kiliguni
This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal.
7. Pastoral – Cape Buffalo at Samburu
The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.
8. Song - Hippos at Mzima Springs
This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.
9. Leopards at Kimana Lodge
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night.
10. Colobus Monkeys at the Ark
This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest.
11. Zebra Migration at Masai Mara
This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.
12. Ostrich at Samburu
This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.
13. Cheetah at Voi
This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.
14. Gallop – Gerenuk at Buffalo Springs
This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.
15. Lions at Mara Sopa
This duet is in the style of a fanfare. The lion is considered the king of the savanna.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00 ≈
18.48€
The Arban Manual (Pre 2013)
The Arban Manual (Pre 2013)
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Trumpet
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INTERMEDIATE/ADVANCED
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Instructional
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Reper...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.
Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95 ≈
15.66€
The Arban Manual - Hooten Edition
The Arban Manual - Hooten Edition
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Trumpet
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INTERMEDIATE/ADVANCED
#
Instructional
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Eric Bolvin
#
The Arban Manual - Hooten Edit
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire,...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95 ≈
15.66€
The Progressive Warm Up-Tuba Edition
The Progressive Warm Up-Tuba Edition
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Tuba
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INTERMEDIATE/ADVANCED
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Instructional
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Eric Bolvin
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The Progressive Warm Up-Tuba E
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SheetMusicPlus
Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Classroom, General Instructional, T...
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Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. 42 pages. Published by Faded Duck Music
A creative and thorough way to warm-up and keep your chops in shape in less than 30 minutes daily!
Description
The Warm Up is an integral component of every brass player’s daily practice. Brass teachers have always been at odds as to what a good warm-up should consist of. My teacher Claude Gordon believed that there should be no prescribed warm-up, as the first notes of the day would fill that need. Others believe in a set warm-up that is done the same every day and never changes. And then there are those teachers who believe a warm-up should cover every aspect of playing, sometimes lasting two hours or more. I end up in the middle of all this with The Progressive Warm-Up.
$16.95 ≈
15.66€
The Duke of Alva's entry into Brussels for brass quintet
The Duke of Alva's entry into Brussels for brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Classical
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Peter Benoit
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Marc Goris
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The Duke of Alva's entry into
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Brassery Publications
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SheetMusicPlus
Brass Ensemble - Digital Download SKU: A0.999619 Composed by Peter Benoit. Arranged by Marc Goris. Romantic Period. Score and parts. 15 pages. Brassery P...
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Brass Ensemble - Digital Download SKU: A0.999619 Composed by Peter Benoit. Arranged by Marc Goris. Romantic Period. Score and parts. 15 pages. Brassery Publications #6025981. Published by Brassery Publications (A0.999619). The Duke of Alva's entry into Brussels from The Pacification of Ghent, duration : 2 min music : Peter Benoit arr. : Marc Goris Peter Benoit composed music based on the historical drama with the title 'De Pacificatie van Gent' by Emiel Van Goethem. Because of the combination of drama and music he defined the piece as a lyrical drama. He completed The Pacification of Ghent on 11 July 1876, the world premiere happening on 3 September at the Ghent Municipal Theatre. On 8 November 1576 a treaty was proclaimed from the balcony of the city hall in Ghent between the different regions of the southern and the northern Netherlands. This Pacification of Ghent occurred after the revolt against the Spanish occupation of Philip the Second and was the great ideal of William of Orange: he was striving for unity in the seventeen provinces in the Netherlands as well as for freedom of religion. Furthermore the treaty stipulated that the Spanish troops were to be removed from the Netherlands. Although this treaty was observed for only three years, the Pacification was embellished with a mythical aura in the Flanders of the 19th century. King Philip II sent the Duke of Alva to Brussels on 22 August 1567, at the head of a powerful army. On arrival, Alva replaced Margaret of Parma, the sister of the Spanish king, as head of the civil jurisdiction. He decided that the local nobility was in open rebellion against the king and supported the new Protestant teachings, heresy in his view. A few days later, on 5 September 1567, Alva established the Council of Troubles, popularly known in the Netherlands as the Court of Blood, to prosecute those responsible for the riots of 1566, especially those who were deemed heretics. Alba also targeted the local Catholic nobility, who favoured dialogue and opposed outside intervention. Two of the three heads of the Flemish nobility, the Count of Egmont, a Catholic General for Philip II, who had led the cavalry that defeated the French at the Battle of San Quentin, and Philip de Montmorency, Count of Horn, were arrested. The court sentenced both counts to death. The Major of Antwerpen, Anthony van Stralen, Lord of Merksem and Jan van Casembroot were other famous victims of the bloody repression, along with a large group of other heretics. The condemned persons were executed on 5 June 1568 in the Town Hall Square in Brussels. Alva had little confidence in Flemish justice, which he perceived as sympathetic to the defendants, and witnessed the executions in person.
$12.00 ≈
11.09€
Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Tuba
Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Tuba
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Tuba (band part)
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Broadway
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Claude-Michel Schonberg
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Jay Bocook
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Work Song/At the End of the Da
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Hal Leonard - Digital
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SheetMusicPlus
Marching Band - Level 3-4 - Digital Download SKU: HX.456942 Composed by Claude-Michel Schonberg. Arranged by Jay Bocook. This edition: scorch. Broadway,M...
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Marching Band - Level 3-4 - Digital Download SKU: HX.456942 Composed by Claude-Michel Schonberg. Arranged by Jay Bocook. This edition: scorch. Broadway,Musical/Show. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.456942).
$6.00 ≈
5.54€
Åland Islands National Song (Song of the Ålander - Ålänningens sång) for Brass Quintet
Åland Islands National Song (Song of the Ålander - Ålänningens sång) for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Johan Fridolf Hagfors
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Music for all Occasions
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Åland Islands National Song
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Keith Terrett
#
SheetMusicPlus
Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746678 Composed by Johan Fridolf Hagfors. Arranged by Music for all Occasions. ...
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Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746678 Composed by Johan Fridolf Hagfors. Arranged by Music for all Occasions. Patriotic,World. 9 pages. Keith Terrett #2613291. Published by Keith Terrett (A0.746678). An arrangement of the Åland Islands National Song (Song of the Ålander - Ålänningens sång) for Brass Quintet.Ålänningens sång (English: Song of the Ålander; Finnish: Ahvenanmaalaisten laulu), is the official anthem of the Åland Islands, an autonomous Swedish-speaking province of Finland. Adopted in 1922, the anthem's words are by John Grandell and the music was composed by Johan Fridolf Hagfors. The song was first performed during the song festival in Mariehamn 1922. In Åland the song is mostly sung on Midsummer's Eve and on the National day of Åland in June 9th. The song originally had four verses, but the third verse is omitted for a long time when the song is sung and often when it appears in print.Johan Fridolf Hagfors (11 March 1857–18 August 1931) was a Swedish newspaper publisher, music critic and composer, most known for having composed the two songs Modersmålets sång (The mother tongue's song) and Ålänningens sång (Song of the Ålender).Born in Orimattila, he got a Cand.phil degree in 1881. In 1883 he became publicist of the small Åbo paper Turun Lehti which was published in Finnish but at the same time Svecoman; it became the only newspaper with that combination to reach a wide readership. He also worked as a teacher in Åbo.He composed several songs for male quartets. Modersmålets sång was first performed in 1989 and is today considered an unofficial hymn for the Swedish-speaking population of Finland. Ålänningens sång, for which he composed the melody, was first performed during the song festival in Mariehamn in 1922 and is today the regional hymn for the Åland islands.In 1912 he became a member of the Royal Swedish Academy of Music.Due to stiff competition, Turun Lehti ceased publication in 1919. Hagfors subsequently moved to Stockholm and obtained Swedish citizenship. He died in 1931. Fellow composer Erik August Hagfors was his half-brother.For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores:http://www.scoreexchange.com/profiles/keith_terrethttp://musicforalloccasions.org.ukhttp://www.sheetmusicplus.com/search?Ntt=keith+terrettNeed an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$8.99 ≈
8.31€
Silent Night (Bb) (Brass Octet - 3 Trp, 2 Hrn, 2 Trb, 1 Tuba)
Silent Night (Bb) (Brass Octet - 3 Trp, 2 Hrn, 2 Trb, 1 Tuba)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Christmas
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the 1840's, the song was well
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Franz Xaver Gruber
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Regis Bookshar
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Silent Night
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813980 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christm...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813980 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christmas,Instructional,Multicultural,World. Score and parts. 12 pages. Regis Bookshar #6636611. Published by Regis Bookshar (A0.813980). Brass Octet - Intermediate - Digital Download. This arrangement of Silent Night, or in German, Stille Nacht, would be a wonderful addition to any music library and could be performed for Christmas concerts, recitals, and, especially, church services. It is equally suitable for junior and senior high school students and even older musicians. Depending on their ability, younger musicians would also enjoy playing this selection. Included are a score and a complete set of parts (11 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Silent Night is probably the most popular Christmas carol ever written. It was composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr and was first performed on Christmas Eve at St. Nicholas parish church in Oberndorf, a small village in present-day Austria. A young Catholic priest, Father Joseph Mohr, had written the poem, Stille Nacht, in 1816 and had gone to Oberndorf in 1817. The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf. On Christmas Eve, 1818, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for that night's mass, after river flooding had possibly damaged the church organ. The church was eventually destroyed by repeated flooding and has since been replaced with the Silent-Night-Chapel.According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Oberndorf church, was enamored with the song, and took the composition home with him to the Ziller Valley in Tyrol, Austria. From there, two traveling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas, 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia. They also gave the first performance of the song in the United States in New York City in 1839. By the 1840's, the song was well known and was reported to be a favorite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly heard today. The version of the melody that is generally used today is a slow, meditative lullaby, or pastoral, differing slightly from Gruber's original which has a moderate tempo. The song has been translated into about 140 languages and has been recorded by many singers across many music genres. The version sung by Bing Crosby in 1935, has sold over 10 million copies as a single.In this arrangement of Silent Night, Regis Bookshar has kept the basic form of this familiar Christmas carol, but has also included a descant during the third verse. Also, in addition to this version for a Brass Octet, consisting of 3 Trumpets, 2 French Horns, 2 Trombones and 1 Tuba, there are other arrangements of Silent Night available for a variety of instrumental ensembles. There are Quintets and Octets readily available for purchase. Please take the time to look for other versions of this composition. You may find something else that might also suit your needs.I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a wide variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of Silent Night will continue to entertain both performers and audiences alike for years to come.
$8.00 ≈
7.39€
Silent Night (Bb) (Brass Octet - 4 Trp, 1 Hrn, 2 Trb, 1 Tuba)
Silent Night (Bb) (Brass Octet - 4 Trp, 1 Hrn, 2 Trb, 1 Tuba)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Christmas
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the 1840's, the song was well
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Franz Xaver Gruber
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Regis Bookshar
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Silent Night
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813983 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christm...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813983 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christmas,Instructional,Multicultural,World. Score and parts. 11 pages. Regis Bookshar #6636615. Published by Regis Bookshar (A0.813983). Brass Octet - Intermediate - Digital Download. This arrangement of Silent Night, or in German, Stille Nacht, would be a wonderful addition to any music library and could be performed for Christmas concerts, recitals, and, especially, church services. It is equally suitable for junior and senior high school students and even older musicians. Depending on their ability, younger musicians would also enjoy playing this selection. Included are a score and a complete set of parts (11 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Silent Night is probably the most popular Christmas carol ever written. It was composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr and was first performed on Christmas Eve at St. Nicholas parish church in Oberndorf, a small village in present-day Austria. A young Catholic priest, Father Joseph Mohr, had written the poem, Stille Nacht, in 1816 and had gone to Oberndorf in 1817. The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf. On Christmas Eve, 1818, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for that night's mass, after river flooding had possibly damaged the church organ. The church was eventually destroyed by repeated flooding and has since been replaced with the Silent-Night-Chapel.According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Oberndorf church, was enamored with the song, and took the composition home with him to the Ziller Valley in Tyrol, Austria. From there, two traveling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas, 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia. They also gave the first performance of the song in the United States in New York City in 1839. By the 1840's, the song was well known and was reported to be a favorite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly heard today. The version of the melody that is generally used today is a slow, meditative lullaby, or pastoral, differing slightly from Gruber's original which has a moderate tempo. The song has been translated into about 140 languages and has been recorded by many singers across many music genres. The version sung by Bing Crosby in 1935, has sold over 10 million copies as a single.In this arrangement of Silent Night, Regis Bookshar has kept the basic form of this familiar Christmas carol, but has also included a descant during the third verse. Also, in addition to this version for a Brass Octet, consisting of 4 Trumpets, 1 French Horn, 2 Trombones and 1 Tuba, there are other arrangements of Silent Night available for a variety of instrumental ensembles. There are Quintets and Octets readily available for purchase. Please take the time to look for other versions of this composition. You may find something else that might also suit your needs.I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a wide variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of Silent Night will continue to entertain both performers and audiences alike for years to come.
$8.00 ≈
7.39€
Silent Night (Bb) (Brass Quintet - 2 Trp, 1 Hrn, 1 Trb, 1 Tuba)
Silent Night (Bb) (Brass Quintet - 2 Trp, 1 Hrn, 1 Trb, 1 Tuba)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Christmas
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the 1840's, the song was well
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Franz Xaver Gruber
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Regis Bookshar
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Silent Night
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813961 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christm...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813961 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christmas,Instructional,Multicultural,World. Score and parts. 7 pages. Regis Bookshar #6632967. Published by Regis Bookshar (A0.813961). Brass Quintet Quintet - Intermediate - Digital Download. This arrangement of Silent Night, or in German, Stille Nacht, would be a wonderful addition to any music library and could be performed for Christmas concerts, recitals, and, especially, church services. It is equally suitable for junior and senior high school students and even older musicians. Depending on their ability, younger musicians would also enjoy playing this selection. Included are a score and a complete set of parts (7 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Silent Night is probably the most popular Christmas carol ever written. It was composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr and was first performed on Christmas Eve at St. Nicholas parish church in Oberndorf, a small village in present-day Austria. A young Catholic priest, Father Joseph Mohr, had written the poem, Stille Nacht, in 1816 and had gone to Oberndorf in 1817. The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf. On Christmas Eve, 1818, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for that night's mass, after river flooding had possibly damaged the church organ. The church was eventually destroyed by repeated flooding and has since been replaced with the Silent-Night-Chapel.According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Oberndorf church, was enamored with the song, and took the composition home with him to the Ziller Valley in Tyrol, Austria. From there, two traveling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas, 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia. They also gave the first performance of the song in the United States in New York City in 1839. By the 1840's, the song was well known and was reported to be a favorite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly heard today. The version of the melody that is generally used today is a slow, meditative lullaby, or pastoral, differing slightly from Gruber's original which has a moderate tempo. The song has been translated into about 140 languages and has been recorded by many singers across many music genres. The version sung by Bing Crosby in 1935, has sold over 10 million copies as a single.In this arrangement of Silent Night, Regis Bookshar has kept the basic form of this familiar Christmas carol, but has also included a descant during the third verse. Also, in addition to this version for a Brass Quinet, consisting of 2 Trumpets, 1 French Horn, 1 Trombone and 1 Tuba, there are other arrangements of Silent Night available for a variety of instrumental ensembles. There are Quintets and Octets readily available for purchase. Please take the time to look for other versions of this composition. You may find something else that might also suit your needs.I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a wide variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of Silent Night will continue to entertain both performers and audiences alike for years to come.
$5.00 ≈
4.62€
Tuba solo - "And Can It Be?" Theme and Variations
Tuba solo - "And Can It Be?" Theme and Variations
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Tuba
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INTERMEDIATE
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Sacred music
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Tuba solo - "And Can It Be?" T
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Dan Cutchen Music
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SheetMusicPlus
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Ar...
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00 ≈
5.54€
Prayer before the close of day - tuba quartet
Prayer before the close of day - tuba quartet
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Euphonium, Tuba (duet)
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INTERMEDIATE/ADVANCED
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David Warin Solomons
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Prayer before the close of day
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Euphonium,Instrumental Duet,Tuba - Level 4 - Digital Download SKU: A0.575646 Composed by David Warin Solomons. 20th Century,Christian. ...
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Instrumental Duet Euphonium,Instrumental Duet,Tuba - Level 4 - Digital Download SKU: A0.575646 Composed by David Warin Solomons. 20th Century,Christian. Score and parts. 15 pages. David Warin Solomons #2026473. Published by David Warin Solomons (A0.575646). A tour de force of breathing for a tuba and euphonium quartet, but very effective and meditative. The idea of writing a piece based on plainchant was suggested to me by the quartet Tubalaté, who are playing the piece in the sound sample here. The amen section at the end courses through many ideas for amens used by composers over the centuries, ending with a rather unusual English cadence. The plainchant used is Te lucis ante terminum (To thee before the close of day...) The pdf file contains score and parts.Video https://www.youtube.com/watch?v=Drf0Vb_32bU
$14.00 ≈
12.93€
In Remembrance, September 11, 2001 for Tuba/Euphonium Quartet
In Remembrance, September 11, 2001 for Tuba/Euphonium Quartet
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2 Euphoniums and 2 Tubas
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INTERMEDIATE/ADVANCED
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Sy Brandon
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In Remembrance, September 11,
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Sy Brandon
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SheetMusicPlus
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.755012 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Patriotic. Score and ...
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Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.755012 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Patriotic. Score and parts. 52 pages. Sy Brandon #3240599. Published by Sy Brandon (A0.755012). This work was commissioned by the Euphouria Quartet. The composition reflects the composer's feelings about the tragic events of that fateful day. The first movement, Fanfares To Fallen Heroes, is a tribute to the brave firemen, policemen and rescue workers who tirelessly and fearlessly risked and sacrificed their lives in order to save the lives of others. The movement is permeated with fanfare motives that reflect both the bravery displayed and the danger that these people faced. The second movement, Elegy To The Innocent, is a tribute to all the innocent victims and their loved ones who have suffered at the hands of the terrorists. The outer sections have a dirge-like rhythm underpinning a sorrowful melody. The middle section contrasts the dirge by giving a sense of comfort to all that have suffered. The third movement, Justice, represents the struggle and resolve of the United States of America and its allies to eliminate terrorism. Battle motives alternate with a heroic theme throughout the movement. The last movement, Prayer For Peace, represents a hope that all the people of the world can achieve the tolerance and understanding we need to live in harmony and in a civilized manner. The chaconne form is used to represent the uniting of voices as the prayer grows in intensity from beginning to end. A recording by the Euphouria Quartet is available on an Emeritus Recordings CD entitled Echoes – Music for Tuba and Euphonium Ensembles by Sy Brandon and Mark Scott.
$7.99 ≈
7.38€
Holst: I vow to thee my country (Thaxted) - brass quintet
Holst: I vow to thee my country (Thaxted) - brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Gustav Holst
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Ray Thompson
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Holst: I vow to thee my countr
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RayThompsonMusic
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SheetMusicPlus
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1318153 Composed by Gustav Holst. Arranged by Ray Thompson. 20th ...
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1318153 Composed by Gustav Holst. Arranged by Ray Thompson. 20th Century,Patriotic. 10 pages. RayThompsonMusic #906857. Published by RayThompsonMusic (A0.1318153). Arranged symphonic brass quintet.I Vow to Thee, My Country is a British patriotic hymn, created in 1921, when music by Gustav Holst had a poem by Sir Cecil Spring Rice set to it. The music originated as a wordless melody, which Holst later named Thaxted, taken from the Jupiter movement of Holst's 1917 suite The Planets. The tune is used forWorld in Union – the anthem with lyrics by Charlie Skarbek, introduced at the 1991 Rugby World Cup.It has been used for many other Christian Hymns.Notable examples are:O God Beyond All Praising – Michael Perry, 1982.We Praise You and Acknowledge You, O God – a paraphrase of the Te Deum Laudamus by Stephen P. Starke in the 2006 Lutheran Service BookThe Answer – song with lyrics by Corrinne May, which appears on her fourth album, The Gift.For the Splendor of Creation – a hymn sung at Harvard Universitycommencement ceremonies.Building the Kingdom – a recessional hymn sung at St Aloysius College.O Spirit All-Embracing – Delores Dufner, 1995.This is my arrangement for brass quintet of Gustav Holst's orchestral arrangement.It has an opening section, before the melody begins.Check out my other Holst brass arrangements including Christmas Day and In the Bleak Midwinter
$7.95 ≈
7.34€
In The Garden (Brass Quintet)
In The Garden (Brass Quintet)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Sacred music
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Charles Austin Miles
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Joseph Pugh
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In The Garden
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Joseph Pugh
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855253 Composed by Charles Austin Miles (1868-1946). Arranged by Joseph Pu...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855253 Composed by Charles Austin Miles (1868-1946). Arranged by Joseph Pugh. Christian,Sacred. Score and parts. 9 pages. Joseph Pugh #6506087. Published by Joseph Pugh (A0.855253). In the Garden (sometimes rendered by its first line I Come to the Garden Alone is a gospel song written by American songwriter C. Austin Miles (1868–1946), a former pharmacist who served as editor and manager at Hall-Mack publishers for 37 years.The song was first published in 1912 and popularized during the Billy Sunday evangelistic campaigns of the early twentieth century by two members of his staff, Homer Rodeheaver and Virginia Asher .Roy Rogers and Dale Evans recorded the song with vocal quartet and orchestra on March 3, 1950.[2] Tennessee Ernie Ford performed the song on his 1956 platinum album Hymns. A June 18, 1958 recording by Perry Como was part of his album When You Come to the End of the Day.- wikipedia This BQ arrangement by, Joseph Pugh attempts to breathe new life in to this old tune.
$19.99 ≈
18.47€
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At the End of the Day Tuba
