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How Great Thou Art Instrumental Trombone Solo
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You've selected:
How Great Thou Art Instrumental Trombone Solo
Sheetmusic to print
25 sheet music found
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1
How Great Thou Art Instrumental Trombone Solo
How Great Thou Art Instrumental Trombone Solo
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Trombone
#
INTERMEDIATE
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Sacred music
#
Swedish Folk Melody
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Joshua Lancaster, Byron Foxx
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How Great Thou Art Instrumenta
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Bible Truth Music
#
SheetMusicPlus
Trombone Solo - Level 3 - Digital Download SKU: A0.770924 Composed by Swedish Folk Melody. Arranged by Joshua Lancaster, Byron Foxx. Sacred. Individual p...
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Trombone Solo - Level 3 - Digital Download SKU: A0.770924 Composed by Swedish Folk Melody. Arranged by Joshua Lancaster, Byron Foxx. Sacred. Individual part. 5 pages. Bible Truth Music #4766539. Published by Bible Truth Music (A0.770924). Arranged by Josh Lancaster and Byron Foxx, this triumphant instrumental song for the intermediate trombone player with piano accompaniment exalts the greatness of our God! Note: The sample audio clip below includes only the piano accompaniment portion of the song.
$9.99 ≈
9.07€
How Great Thou Art (for Trombone Solo - Organ accompaniment)
How Great Thou Art (for Trombone Solo - Organ accompaniment)
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Trombone, Organ
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EASY
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Traditional
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Stephen DeCesare
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How Great Thou Art
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Exultet Music
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Organ,Trombone - Level 2 - Digital Download SKU: A0.612399 Composed by Traditional. Arranged by Stephen DeCesare. Chr...
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Instrumental Duet Instrumental Duet,Organ,Trombone - Level 2 - Digital Download SKU: A0.612399 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Contemporary,Sacred. Score and parts. 13 pages. Exultet Music #5360239. Published by Exultet Music (A0.612399). One of the most favorite and requested hymns of all time has now been freshly arranged for a Trombone Solo and Organ accompaniment. Accessible and appropriate for any church or concert setting. Can be used many times throughout the liturgical year.
$4.99 ≈
4.53€
How Great Thou Art - "O store Gud." - Easy Bass Trombone and Piano
How Great Thou Art - "O store Gud." - Easy Bass Trombone and Piano
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Trombone and Piano
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BEGINNER
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Sacred music
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Carl Gustav Boberg /Stuart K H
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Daniel H Rosa
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How Great Thou Art - "O store
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Daniel H Rosa
#
SheetMusicPlus
Bass Trombone,Instrumental Solo,Piano,Tuba - Level 1 - Digital Download SKU: A0.1155910 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel...
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Bass Trombone,Instrumental Solo,Piano,Tuba - Level 1 - Digital Download SKU: A0.1155910 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Rosa. Christian,Easter,Praise & Worship,Religious,Sacred. Score and individual part. 2 pages. Daniel H Rosa #756219. Published by Daniel H Rosa (A0.1155910). Easy Begginer solo.
$2.99 ≈
2.71€
Then Sings My Soul (How Great Thou Art)
Then Sings My Soul (How Great Thou Art)
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Sacred music
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra....
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Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Set of Instrumental Parts. 60 pages. Hope Publishing - Digital #C5701ODP. Published by Hope Publishing - Digital (H1.C5701ODP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$89.95 ≈
81.65€
How Great Thou Art - "O store Gud." - Easy Bass Trombone
How Great Thou Art - "O store Gud." - Easy Bass Trombone
#
Sacred music
#
Carl Gustav Boberg /Stuart K H
#
Daniel H Rosa
#
How Great Thou Art - "O store
#
Daniel H Rosa
#
SheetMusicPlus
Bass Trombone,Instrumental Solo,Tuba - Level 1 - Digital Download SKU: A0.1155843 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Ros...
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Bass Trombone,Instrumental Solo,Tuba - Level 1 - Digital Download SKU: A0.1155843 Composed by Carl Gustav Boberg /Stuart K Hine. Arranged by Daniel H Rosa. Christian,Easter,Praise & Worship,Religious,Sacred. Individual part. 1 pages. Daniel H Rosa #756150. Published by Daniel H Rosa (A0.1155843). Easy Begginer solo.
$1.99 ≈
1.81€
How Great Thou Art
How Great Thou Art
#
Sacred music
#
Traditional Swedish Folk Tune
#
Bruce Abbott
#
How Great Thou Art
#
Bruce Abbott
#
SheetMusicPlus
Cello,Instrumental Solo,Saxophone,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.1082596 Composed by Traditional Swedish Folk Tune. Arranged...
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Cello,Instrumental Solo,Saxophone,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.1082596 Composed by Traditional Swedish Folk Tune. Arranged by Bruce Abbott. Sacred,Traditional. Individual part. 2 pages. Bruce Abbott #685328. Published by Bruce Abbott (A0.1082596). A simple theme and variation arrangement of this all-time favorite hymn for solo unaccompanied instrument. Key of G major. Includes parts for treble and bass clef.
$2.99 ≈
2.71€
Blue Bells of Scotland - Trombone Solo with Brass Quintet Accompaniment
Blue Bells of Scotland - Trombone Solo with Brass Quintet Accompaniment
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Brass quartet : 2 trumpets, trombone, tuba
#
ADVANCED
#
Joseph Alessi, Christian Lindb
#
Aaron Hettinga
#
Blue Bells of Scotland - Tromb
#
Aaron Hettinga
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1094241 By Joseph Alessi, Christian Lindberg. By Arthur Willard Pryor. Arr...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1094241 By Joseph Alessi, Christian Lindberg. By Arthur Willard Pryor. Arranged by Aaron Hettinga. 20th Century,Classical,Contest,Festival,Patriotic,Traditional. Score and parts. 24 pages. Aaron Hettinga #698344. Published by Aaron Hettinga (A0.1094241). Arthur Pryor’s famous theme and variations on “The Blue Bells of Scotland†has been a showcase for trombonists with strong technique and agility for well over a century. While this work is most commonly performed as accompanied by a wind band or with piano, in this arrangement the soloist is supported by a standard brass quintet. The solo part is unchanged from Pryor’s original, though there are some minor tweaks to suggested slide positions and other notations throughout. While each of the accompanying quintet parts do feature some small technical requirements, they remain at an intermediate level where even less-experienced players should be able to pull them off. Performance suggestion: as an option, it’s recommended to utilize Cornets and Euphonium in place of the Trumpet and Trombone parts in the accompanying quintet to more faithfully emulate the sounds of the conical-bore instruments of the period and to better separate the tonality of the accompaniment from the soloist. This arrangement is a great vehicle to showcase a talented trombonist on this classic piece of standard trombone literature!
$29.99 ≈
27.22€
Bach-Gounod: Ave Maria, Schwencke version for Trombone & Piano
Bach-Gounod: Ave Maria, Schwencke version for Trombone & Piano
#
Trombone and Piano
#
EASY
#
J
#
James M
#
Bach-Gounod: Ave Maria, Schwen
#
jmsgu3
#
SheetMusicPlus
Piano,Trombone - Level 2 - Digital Download SKU: A0.550934 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,E...
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Piano,Trombone - Level 2 - Digital Download SKU: A0.550934 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and part. 12 pages. Jmsgu3 #4888761. Published by jmsgu3 (A0.550934). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95 ≈
29.91€
52 Easter Hymns for the Solo Performer - bass trombone
52 Easter Hymns for the Solo Performer - bass trombone
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Sacred music
#
Various
#
Kenneth D
#
#
52 Easter Hymns for the Solo P
#
KFS Publishing
#
SheetMusicPlus
Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.699303 Composed by Various. Arranged by Kenneth D. Friedrich. Easter. Score and parts. 54 pa...
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Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.699303 Composed by Various. Arranged by Kenneth D. Friedrich. Easter. Score and parts. 54 pages. KFS Publishing #2960977. Published by KFS Publishing (A0.699303). From Palm Sunday to the Resurrection, this collection of hymns are specially arranged for unaccompanied solo instruments.Song list:Behold, the Lord to Zion Rides 27. Low in the Grave He LayHosanna, Loud Hosanna 28. God So Loved the WorldPalm Sunday 29. Crown Him With Many CrownsTriumphal Entry 30. Alive AgainLift Up Your Heads 31. Alle Meschen Mussen SterbenAll Glory, Laud, and Honor 32. Thine Is the GloryHow Great Thou Art 33. At EastertimeCome, Faithful People 34. The Day of ResurrectionSo Lowly Doth the Savior Ride 35. Beautiful EasterThere Was a Time When Children Sang 36. Easter People, Raise Your VoicesGo To Dark Gethsemane 37. Ascension HymnLet Us Break Bread Together 38. Brighter Are the SunbeamsJesus Paid It All 39. ResurrexitWhen I Survey the Wondrous Cross 40. He Is RisenDown at the Cross 41. The Bell of EasterThere is a Fountain &nbs.
$25.00 ≈
22.69€
How Great Thou Art - Trombone by Stuart K. Hine - Trombone Solo
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Trombone
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Stuart K. Hine
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How Great Thou Art - Trombone
#
Musicnotes
How Great Thou Art - Trombone Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangeme...
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How Great Thou Art - Trombone Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Instrumental Solo, instruments: Trombone; 1 pages -- Christian~~Hymn~~Traditional
$2.99 ≈
2.71€
Collection: How Great Thou Art - Trombone & Piano by Traditional - Instrumental Parts
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Trombone and Piano
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Traditional
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Collection: How Great Thou Art
#
Musicnotes
How Great Thou Art - Trombone & Piano Digital sheetmusic collection - instantly downloadable sheet music plus an interactive, downloadable digital sheet mus...
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How Great Thou Art - Trombone & Piano Digital sheetmusic collection - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Parts;Solo & Accompaniment, instruments: Piano Accompaniment;Trombone -- Christian~~Hymn~~Traditional
$5.95 ≈
5.40€
M'appari tutt' amor (“Mostly Martha”)
M'appari tutt' amor (“Mostly Martha”)
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Brass ensemble
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INTERMEDIATE/ADVANCED
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Friedrich von Flotow
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F
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M'appari tutt' amor
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 4 - Digital Download SKU: A0.1049261 Composed by Friedrich von Flotow. Arranged by F. Leslie Smith. Classical,Pop,Romantic Period....
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Brass Ensemble - Level 4 - Digital Download SKU: A0.1049261 Composed by Friedrich von Flotow. Arranged by F. Leslie Smith. Classical,Pop,Romantic Period. Score and parts. 18 pages. Sweetwater Brass Press #653628. Published by Sweetwater Brass Press (A0.1049261). The first performance of "Martha, or The Market at Richmond," a romantic comic opera by the German composer Friedrich von Flotow, took place in Vienna in 1847. Subsequent presentations were performed in a number of other languages, including Hungarian, Czech, English and Italian. Two of the most memorable arias from Martha are “The Last Rose of Summer” and “Ach! so fromm.” “Last Rose” was, of course, based on the poem by Thomas Moore. “Ach! So fromm,” known more familiarly by its Italian lyric, “M'appari, tutt'amor,” was an original composition by Flotow, a piece he had composed for an earlier opera and inserted into Act 3 of Martha as Lyonel’s tenor solo. In 1955, The Crew Cuts, a Canadian pop singing group, recorded a song titled “Mostly Martha.” Written by Dorcas Cochran (words) and Ralph Sterling (music), it charted in early 1956. As so many pop song writers have done, Sterling borrowed the melody from a piece of classical music: “M’appari.” While “M’appari” and “Mostly Martha” share the same melody, the words and sentiment are quite different. Lyonel laments that Martha has left him, while The Crew Cuts jauntily proclaim, “Mostly Martha, Mostly Martha. What has she got? She's got the most.” This brass quintet arrangement takes a middle ground. It follows closely the basic structure of Flotow’s operatic aria but does so in a sort-of up-tempo manner and with a great deal of variation in the accompaniment. It’s not really The-Crew-Cut-style “She’s got the most,” but it’s certainly more positive than Lyonel’s song of longing. The piece starts with a suggested tempo of 90 bpm, changes to 80 at section C, and speeds up to 92 at the end. All instruments get a turn playing the melody, and there are no really tricky rhythmic patterns. There are, however, grace notes, rallentandos, an “a piacere” and a number of fermatas. All notes are, for the most part, within normal playing range of each of the five instruments, with two exceptions: near the end Trumpet 1 has an A above its staff, followed two measures later by a high B-flat. Completed in 2022, performance time runs about 2 minutes, 45 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt to him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
7.22€
America's Favorite Hymns arranged for Brass
America's Favorite Hymns - Brass
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Brass Quartet: 2 trumpets, horn, trombone
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Sacred music
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Various
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America's Favorite Hymns - Bra
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Colin Kirkpatrick Publications
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SheetMusicPlus
Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, Sacred. Score and parts. 179 pages. Colin Kirkpatrick Publication...
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Composed by Various. Arranged by Colin Kirkpatrick. Christian, Praise & Worship, Sacred. Score and parts. 179 pages. Colin Kirkpatrick Publications #6326509. Published by Colin Kirkpatrick Publications
Here’s a new collection of thirty-two of America’s best-loved hymn tunes for brass, at a bargain price too! The arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing.
The publication consists of full scores for each hymn plus separate instrumental parts and an optional simplified keyboard part. All the arrangements are in four parts, reflecting the traditional SATB voicing. The parts include 1st trumpet in B flat; 2nd trumpet in B flat; horn in F; horn in E flat; trombone and optional tuba; bass in B flat and bass in E flat. There are also two optional baritone parts in B flat (T.C.) and C (B.C.) in case you need them. They are the same as the tenor part. In some hymns, you might prefer to assign any baritones to doubling the bass or doubling the melody an octave lower. The baritone part in C is also playable by trombone. The trombone and tuba parts appear on a single staff. Of course, you can use any number of instruments to a particular part. The scores and all the parts are contained in a single 178-page PDF file.
The optional keyboard part has been simplified and whenever possible limited to single notes in the left hand part and no more than two-note chords in the right. Using the keyboard part, you can use the arrangements as solos, duets or trios. Because the music has been set in brass-friendly keys, the arrangements are not compatible with the string collection of the same title.
The collection includes the following titles: A Mighty Fortress Is Our God (Ein’ Feste Burg); All Creatures Of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Abide with Me (Eventide); All Hail the Power of Jesus’ Name (Coronation); Amazing Grace (Trad); At the Cross (Alas and Did My Savior Bleed) (Hudson); Be Thou My Vision (Slane); Blessed Assurance (Assurance); Blest Be the Tie That Binds (Dennis - Nägeli); Come Thou Fount of Every Blessing (Nettleton); Come We That Love the Lord (St. Thomas); Crown Him with Many Crowns (Diademata); Guide Me O Thou Great Jehovah (Cwm Rhondda); Holy, Holy, Holy (Nicea); How Firm a Foundation (Foundation); It is Well with my Soul (Ville du Havre); Jesus Christ is Risen Today (Easter Hymn); Jesus, Lover of My Soul (Hollingside); Jesus Paid it All (All to Christ); Joy to the World (Antioch); Just as I Am, Without one Plea (Woodworth); Love Divine, All Loves Excelling (Hyfrydol); Nearer my God to Thee (Bethany); Praise To the Lord, The Almighty (Lob den Herren); Rock of Ages (Top¬la¬dy); Shall we gather at the River? (Hanson Place); The Day thou Gave us, Lord is Ended (St. Clement); To God Be The Glory (To God be the Glory); There is a Fountain (Cleansing Fountain); What a Friend We Have in Jesus (Converse) and When I Survey the Wondrous Cross (Hamburg).
The audio demo contains the following titles (1) Love Divine, all Loves Excelling; (2) Abide with Me; (3) That a Friend we have in Jesus; (4) Nearer my God to Thee; (5) Shall we gather at the River?
$16.99 ≈
15.42€
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bass Trombone
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bass Trombone
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1018890 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part....
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Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1018890 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6056111. Published by Benjamin Sajo (A0.1018890). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50 ≈
3.18€
Never Enough
Never Enough
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Concert band
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INTERMEDIATE/ADVANCED
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Boyce Avenue
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Jason Howard
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Never Enough
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Jason Howard
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1265062 By Boyce Avenue. By Benj Pasek and Justin Paul. Arranged by Jason Howard. Broadway,Film/TV,Musi...
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Concert Band - Level 4 - Digital Download SKU: A0.1265062 By Boyce Avenue. By Benj Pasek and Justin Paul. Arranged by Jason Howard. Broadway,Film/TV,Musical/Show,Pop. Score and Parts. 40 pages. Jason Howard #857689. Published by Jason Howard (A0.1265062). Thank you for you're interest in my arrangement one of The Greatest Showman's greatest hits! This arrangement of Never Enough is for concert band with an optional vocal soloist.The work starts out with the simple piano arpeggios that really hooked my ear on the original, before leading into an intimate blend of woodwind timbres and flowing percussive melodies for the first verse. Low Brass lead the work into the first chorus, where a Horn solo carries the emotion to the first full ensemble hit that pushes through until the end of the work where sudden silence and soft, warm extended chord punctuates the piece.This piece was written with advanced high school and higher level musicians in mind. Though the pieces isn't incredibly difficult overall, the range asked of some of the performers and the raw emotion that this work represents demands a level of training. The score will likely be better printed on Legal sized paper to help with readability, but the parts are all easily printable on standard 8.5x11 copy paper.Instrumentation:Flute 1 & 2*Oboe*Bb Clarinet 1 & 2Bb Clarinet 3*Bass ClarinetAlto Saxophone 1Alto Saxophone 2Tenor SaxophoneBaritone SaxophoneBb Trumpet 1 & 2Bb Trumpet 3Horn in F 1 & 3*Horn in F 2 & 4*Trombone 1Trombone 2Eupnonium*TubaOptional Solo VoicePianoGlockenspielChimesXylophoneMarimbaConcert Bass DrumSuspended Cymbal*Part includes a solo sectionI hope that you and your group enjoys my arrangement! If you do (or even if you don't), please leave a comment and let me know! As a current full time band director who would love to be able to do this full time one day, any and all critiques are appreciated, and I'm particularly interested in formatting suggestions! If you would rather email me than leave a comment, shoot me an email at jhowardarranging@gmail.com!A little about me:My name is Jason Howard, and at the time of this publication, I'm going into my 5th year as a band director at the middle and high school levels. I have quite a bit of experience with arranging of various types of vocal and instrumental ensembles and combos. Most are for personal use, but as I get time, I hope to publish more and more for public consumption! Primarily, I focus on popular music, and I one day hope to bring important and influential classical musics to audiences and younger students everywhere!
$49.99 ≈
45.38€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.78€
CONJUNCTION: The Christmas Star of 2020
CONJUNCTION: The Christmas Star of 2020
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Orchestra
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INTERMEDIATE
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Christmas
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Sta
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. Whea...
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00 ≈
86.24€
Chevalier De Sangreal
Chevalier De Sangreal
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Orchestra
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ADVANCED
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Hans Zimmer
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John Langley / Studio Orchestr
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Chevalier De Sangreal
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contempo...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail. No spoilers however. If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score. It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack. Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate). However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.
$150.00 ≈
136.17€
Lullaby Of Birdland
Lullaby Of Birdland
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Jazz
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George Shearing
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Serena Rose
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Lullaby Of Birdland
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Serena Rose Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Double Bass,Drums,Electric Bass Guitar,Piano Accompaniment,Trombone,Trumpet,Voice - Level 3 - Digital Download SKU: A0.1032048
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Large Ensemble Alto Saxophone,Double Bass,Drums,Electric Bass Guitar,Piano Accompaniment,Trombone,Trumpet,Voice - Level 3 - Digital Download SKU: A0.1032048 Composed by George Shearing. Arranged by Serena Rose. Jazz. Score and parts. 25 pages. Serena Rose Music #4313909. Published by Serena Rose Music (A0.1032048). This playful arrangement of Lullaby of Birdland by George Shearing (concert Ab) for voice and 3 horn ( alto sax, trumpet, trombone, piano, bass, and drums ) is unique from many arrangements of this jazz standard by weaving complimentary melodies around the vocal melody, giving this piece a welcome breath of fresh air. The 10-bar intro has a rhythmic push in the piano reminiscent of Jamiroquai’s Virtual Insanity that intensifies the listener’s anticipation to hear the first few notes of this familiar tune in a new and unique context. Returning back to the head via a simple D.S. enables instrumentalists to easily focus on solos rather than the form. The 2-bar rhythm-section outro concludes the piece precisely and cleanly and takes the listener back to the time when jazz bands were first cooking up storms on the dance floors. Though cited with tempo at a quarter note = 160 bpm, this arrangement works well at any bpm between 140 and 170.Other than for the introduction and the ending, the piano part includes chords and rhythmic notation throughout for easy improvisation. The bass part includes both an intermediate-advanced written part and chords throughout, thus accommodating bassists at all skill levels and/or those who would prefer to play a combination of written and improvised bass lines. The drum chart is to be improvised throughout; however, it includes suggested rhythmic ideas and indicates key points in the arrangement such as horn hits, repeats, and fills. PLEASE NOTE: For ease of identifying parts, the forthcoming audio clip furnishes a piano playing the vocal melody. The piano chart does not include the melody. About the Arranger: Serena Rose is a professional musician who performs weekly in the greater Los Angeles area. She has a master's in music composition and has composed three large works for the Orange Coast College Wind Ensemble as well as various smaller ensembles based in Los Angeles.
$50.00 ≈
45.39€
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Piccolo
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Piccolo
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Piccolo
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ADVANCED
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Instrumental Solo,Piccolo - Level 5 - Digital Download SKU: A0.1018873 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pag...
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Instrumental Solo,Piccolo - Level 5 - Digital Download SKU: A0.1018873 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6056053. Published by Benjamin Sajo (A0.1018873). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50 ≈
3.18€
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How Great Thou Art Instrumental Trombone Solo
