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If It Were Easy... Trombone 2
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You've selected:
If It Were Easy... Trombone 2
Sheetmusic to print
6 sheet music found
<
1
If It Were Easy... - Trombone 2
If It Were Easy... - Trombone 2
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Trombone (band part)
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INTERMEDIATE
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Richard L
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If It Were Easy... - Trombone
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Hal Leonard - Digital
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: HX.469419 Composed by Richard L. Saucedo. This edition: scorch. Contest,Festival. 1 pages. Duration 235. H...
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Concert Band - Level 3 - Digital Download SKU: HX.469419 Composed by Richard L. Saucedo. This edition: scorch. Contest,Festival. 1 pages. Duration 235. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.469419).
$6.00 ≈
5.50€
Ten Easy Pieces
Ten Easy Pieces
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE/ADVANCED
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Bela Bartok
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Onder Ozkoc
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Ten Easy Pieces
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Onder Ozkoc
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1003143 Composed by Bela Bartok. Arranged by Onder Ozkoc. 20th Century,Sta...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1003143 Composed by Bela Bartok. Arranged by Onder Ozkoc. 20th Century,Standards. Score and parts. 65 pages. Onder Ozkoc #3682975. Published by Onder Ozkoc (A0.1003143). This set is a Brass Quintet (2 Trumpets in Bb, Horn in F, Trombone, Tuba) arrangement of Bartok’s Ten Easy Pieces for Piano (Sz 39, BB 51) with score and parts. Music originally has 11 short pieces with first piece numbered 0 (0 + 10). These pieces are actually not easy, they are mature and deep. This arrangement has got 9 pieces from Ten Easy Pieces. It seemed unreasonable (and maybe impossible!) to arrange other 2 pieces (nos. 9-10) in my opinion. All dynamics and tempo markings were written on the score like Bartok did. However, it was should kept in mind that this is an arrangement for brass quintet. So you should (and maybe must) try to find your own dynamics and tempos to achieve a great and seemlier result. There are *sign on some notes and it means, you may play these notes as written or an octave higher. If this sign is on the two or more parts in a same measure, you have to decide together to play an octave higher or not. In addition, you may play these nice pieces with your own ordering, regardless of numbers. It has 65 pages (score + parts).
$50.00 ≈
45.86€
Brass Quintet - Three Pastoral Sketches
Brass Quintet - Three Pastoral Sketches
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Contemporary
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Mike Lyons
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Brass Quintet - Three Pastoral
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Ly...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00 ≈
25.68€
This Is Me
This Is Me
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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EASY
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Benj Pasek and Justin Paul
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Robert Newth
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This Is Me
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Robert Newth
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SheetMusicPlus
Brass Ensemble - Level 2 - Digital Download SKU: A0.845586 Composed by Benj Pasek and Justin Paul. Arranged by Robert Newth. Broadway,Contemporary,Film/T...
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Brass Ensemble - Level 2 - Digital Download SKU: A0.845586 Composed by Benj Pasek and Justin Paul. Arranged by Robert Newth. Broadway,Contemporary,Film/TV,Musical/Show. Score and parts. 19 pages. Robert Newth #3514515. Published by Robert Newth (A0.845586). NOTE: This version is for EASY BRASS QUINTET. There is also a more challenging, regular, arrangement of this song available for brass quintet. This song from the fantastic film The Greatest Showman would make an excellent addition to any brass quintet's repertoire. It's a fairly simple arrangement, especially if the players are familiar with the original song, and has been lowered from the song's original key to reduce the number of sharps. In the second half of the arrangement, the tuba bass line can be modified to suit the capable range of the player.INCLUDES TREBLE CLEF TROMBONE AND TUBA PARTS.The PDF download includes a full score and seven parts. There are five main parts for Trumpet 1 in Bb, Trumpet 2 in Bb, Horn in F, Trombone (bass clef), and Tuba (bass clef). There are also two additional parts for treble clef Trombone in Bb and Tuba in Eb.
$12.99 ≈
11.92€
National Anthem of Pakistan: PÄk SarzamÄ«n
National Anthem of Pakistan: PÄk SarzamÄ«n
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Concert band
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EASY
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Patriotic
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Ahmed Ghulam Ali Chagla
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Colin Kirkpatrick
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National Anthem of Pakistan: P
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Colin Kirkpatrick Publications
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1275552 Composed by Ahmed Ghulam Ali Chagla (1902-1953). Arranged by Colin Kirkpatrick. Multicultural,P...
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Concert Band - Level 2 - Digital Download SKU: A0.1275552 Composed by Ahmed Ghulam Ali Chagla (1902-1953). Arranged by Colin Kirkpatrick. Multicultural,Patriotic,World. Score and Parts. 32 pages. Colin Kirkpatrick Publications #867420. Published by Colin Kirkpatrick Publications (A0.1275552). PÄk SarzamÄ«n is the national anthem of the Islamic Republic of Pakistan and formerly that of the Dominion of Pakistan. The music was composed by Ahmad Chagla in 1949, having been selected from hundreds of other melodies. Two years later, lyrics in classical Urdu were written by the Pakistani poet Hafeez Jalandhari. Musically, it's a blend of Eastern and Westrn musical traditions and sometimes referred to by its first line Pak sarzamin shad bad (Blessed be the Sacred Land). This quick and easy national anthem flexible arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in five independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. The arrangement consists of a score with six instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same PDF file.Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax)Part 1 in C (oboe, glockenspiel, violin)Part 1 in E flat (alto sax, E flat clarinet)Part 1a in C (octave above concert for flute, piccolo, oboe, violin)Part 1a in E flat (E flat cornet in brass band)Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax)Part 2 in C (violin)Part 2 in E flat (alto sax)Part 2a in C (octave above concert pitch for flute, oboe, violin)Part 2a in E flat (alto clarinet)Part 3 in B flat (tenor saxophone, B flat baritone)Part 3 in C (bass clef) (trombone, bassoon)Part 3 in C alto (alto clef) (viola)Part 3 in E flat (tenor horn, alto sax)Part 3 in F (French horn)Part 3a in B flat (8ve below Part 3 in B flat)Part 4 in B flat (tenor sax, baritone)Part 4 in C (bass clef) (trombone, euphonium, bassoon, cello)Part 4 in E flat (tenor horn)Part 4 in F (French horn)Part 5 in B flat (baritone)Part 5 in E flat (baritone sax, E flat bass)Part 5 in C (bass clef) (trombone, cello, euphonium, bassoon, double bass, tuba)There are also parts for timpani, percussion (3 players) and piano reduction.
$7.99 ≈
7.33€
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)
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If It Were Easy... Trombone 2
