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Vous avez sélectionné:
The Sacred Trumpet Soloist
Partitions à imprimer
222 partitions trouvées
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The Sacred Trumpet Soloist
The Sacred Trumpet Soloist
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Trompette, Piano
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Musique Sacrée
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Jay Althouse
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Church Reproducible
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The Sacred Trumpet Soloist
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SheetMusicPlus
Trumpet - 9 Solos Arranged for Trumpet and Keyboard. Arranged by Jay Althouse. This edition: Book (Reproducible Trumpet Solos). Brass - B-flat Cornet (Tru...
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Trumpet - 9 Solos Arranged for Trumpet and Keyboard. Arranged by Jay Althouse. This edition: Book (Reproducible Trumpet Solos). Brass - B-flat Cornet (Trumpet) Method or Collection; Church Reproducible; Worship Resources. Sacred. Book. 66 pages. Jubilate Music Group - Digital #00-18923. Published by Jubilate Music Group - Digital
English.
An inspired anthology of 9 traditional hymns, immortal classics and beloved folk songs in accessible arrangements for trumpet soloist with keyboard accompaniment. Book includes reproducible trumpet solo parts. 64 pages. Titles: All Creatures of Our God and King * All Hail the Power of Jesus' Name * Amazing Grace * Joy to the World * Let Us Break Bread Together * Thine Is the Glory * We Gather Together * What Wondrous Love Is This? * When Peace Like a River.
$14.95
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
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SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Fes...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Fes...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Mendelssohn: Song Without Words Op. 109 for Trumpet & Piano
Mendelssohn: Song Without Words Op. 109 for Trumpet & Piano
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Trompette
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INTERMÉDIAIRE
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Felix Mendelssohn
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James M
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Mendelssohn: Song Without Word
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jmsgu3
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SheetMusicPlus
B-Flat Trumpet,Piano - Level 3 - SKU: A0.549500 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Ro...
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B-Flat Trumpet,Piano - Level 3 - SKU: A0.549500 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3501845. Published by jmsgu3 (A0.549500). TRUMPET in Bb and PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
The Year of the Trumpeter (piano reduction)
The Year of the Trumpeter (piano reduction)
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Trompette, Piano
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FACILE
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Contemporain
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by M...
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009.
Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.
Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society?s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.
Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.
Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.
Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.
Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.
He has thirty-four compositions commercially 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.
$15.00
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Serenity (for Solo Trumpet)
Serenity (for Solo Trumpet)
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Trompette, Piano
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INTERMÉDIAIRE/AVANCÉ
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Charles Ives
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Nathaniel Hontz
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Serenity
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TigerSong LLC
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SheetMusicPlus
B-Flat Trumpet,Piano - Level 4 - SKU: A0.1351399 Composed by Charles Ives. Arranged by Nathaniel Hontz. 20th Century,Chamber,Classical,Historic,Sacred. ...
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B-Flat Trumpet,Piano - Level 4 - SKU: A0.1351399 Composed by Charles Ives. Arranged by Nathaniel Hontz. 20th Century,Chamber,Classical,Historic,Sacred. Score and part. 2 pages. TigerSong LLC #936244. Published by TigerSong LLC (A0.1351399). This unique 1909 hymn was written by America's great experimental composer Charles Ives. Set to words by John Greenleaf Whittier, this atonal solo has tricky timing to make for an unusual but rewarding sonic experience. Arranged here for solo trumpet. For ease of playing, only the score is included (so that the accompaniest and soloist can follow the other's part).
$9.99
16 Favourite Easter Hymns for Solo Trumpet and Piano
16 Favourite Easter Hymns for Solo Trumpet and Piano
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Trompette, Piano
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Musique Sacrée
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Various
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Composed by Various. Arranged by David McKeown. Christian, Sacred, General Worship, Easter, Lent. Score, Solo Part. 26 pages. Published by David McKeo...
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Composed by Various. Arranged by David McKeown. Christian, Sacred, General Worship, Easter, Lent. Score, Solo Part. 26 pages. Published by David McKeown
16 Favourite Easter Hymns for Solo Trumpet and Piano is a beautiful collection of well-known traditional Easter hymns. Both the Piano score and separate Trumpet part are included in the single PDF file.
16 Favourite Easter Hymns for Solo Trumpet and Piano are simply arranged in easy keys and are fun to play for soloists with a year or two?s experience and above. The piano part is a little more difficult. Teachers and students alike will find 16 Favourite Easter Hymns for Solo Trumpet and Piano useful for building ensemble, reading and rhythmic skills.
The hymns are in alphabetical order and are as follows?
· All Creatures of Our God and King, (Lasst Uns Erfreuen)
· All Hail the Power of Jesus Name, (Coronation)
· Before the Throne of God Above, (Before the Throne)
· Blessed Assurance, (Blessed Assurance)
· Christ the Lord is Risen Today, (Easter Hymn)
· Crown Him with Many Crowns, (Diademata)
· The Day of Resurrection, (Ellacombe)
· Just as I Am, (Woodworth)
· I Know that My Redeemer Lives, (Bradford)
· It is Well with My Soul, (Ville du Havre)
· A Mighty Fortress is Our God, (Ein Feste Burg)
· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)
· There is a Green Hill Far Away, (The Green Hill)
· Thine Be the Glory, (Judas Maccabeus)
· Were You There? (Were You There?)
· When I Survey the Wondrous Cross, (Hamburg)
$7.60
Bells Ringing in the Tower
Bells Ringing in the Tower
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Trompette, Piano
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FACILE
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Leland Cornell
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Lori Archer Sutherland
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Bells Ringing in the Tower
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Lori Archer Sutherland
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SheetMusicPlus
Piano,Trumpet - Level 2 - SKU: A0.764926 Composed by Leland Cornell. Arranged by Lori Archer Sutherland. Christmas,Sacred. Score and part. 4 pages. Lori...
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Piano,Trumpet - Level 2 - SKU: A0.764926 Composed by Leland Cornell. Arranged by Lori Archer Sutherland. Christmas,Sacred. Score and part. 4 pages. Lori Archer Sutherland #3692961. Published by Lori Archer Sutherland (A0.764926). Let your beginner students shine during the holidays with Bells Ringing in the Tower, a  Bohemian (Czech) song, for trumpet and piano. The piano part is also for beginner students so the soloist can play with friends or relatives who are at a similar level. This gives young pianists a chance to try their hands at collaborative piano early on in their playing careers. Each piece gives both players a chance at the melody and accompanying lines, resulting in an equally balanced duet between the instruments. Also offered as a collection of five songs entitled Christmas Moments for beginner trumpet (S0.491775).2018 Holiday Contest Entry
$4.99
Joy to the World
Joy to the World
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Trompette
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DÉBUTANT
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Isaac Watts
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Lori Archer Sutherland
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Joy to the World
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Lori Archer Sutherland
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SheetMusicPlus
Piano,Trumpet - Level 1 - SKU: A0.764933 Composed by Isaac Watts. Arranged by Lori Archer Sutherland. Christmas,Sacred. Score and part. 5 pages. Lori Ar...
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Piano,Trumpet - Level 1 - SKU: A0.764933 Composed by Isaac Watts. Arranged by Lori Archer Sutherland. Christmas,Sacred. Score and part. 5 pages. Lori Archer Sutherland #3692965. Published by Lori Archer Sutherland (A0.764933). Let your beginner students shine during the holidays with Joy to the World for trumpet and piano.  The piano part is also for beginner students so the soloist can play with friends or relatives who are at a similar level. This gives young pianists a chance to try their hands at collaborative piano early on in their playing careers. Each piece gives both players a chance at the melody and accompanying lines, resulting in an equally balanced duet between the instruments.Also offered as a collection of five songs entitled Christmas Moments for beginner trumpet (S0.491775).
$4.99
Christmas Moments for beginner trumpet & piano
Christmas Moments for beginner trumpet & piano
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Trompette
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DÉBUTANT
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Traditional
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Lori Archer Sutherland
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Christmas Moments for beginner
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Lori Archer Sutherland
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SheetMusicPlus
Piano,Trumpet - Level 1 - SKU: A0.764938 Composed by Traditional. Arranged by Lori Archer Sutherland. Christian,Christmas,Sacred. Score and part. 19 pag...
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Piano,Trumpet - Level 1 - SKU: A0.764938 Composed by Traditional. Arranged by Lori Archer Sutherland. Christian,Christmas,Sacred. Score and part. 19 pages. Lori Archer Sutherland #4285961. Published by Lori Archer Sutherland (A0.764938). Let your beginner students shine during the holidays with a collection of five Christmas songs. The piano part is also for beginner students so the soloist can play with friends or relatives who are at a similar level. This gives young pianists a chance to try their hands at collaborative piano early on in their playing careers. Each piece gives both players a chance at the melody and accompanying lines, resulting in an equally balanced duet between the instruments. Each song is also available individually.Songs include:1. O Come All Ye Faithful2. O Come O Come Emmanuel3. Bells Ringing tn the Tower4. Silent Night5. Joy to the World
$14.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Abide with Me (Eventide) & The Last Post - Clarinet Quintet
Abide with Me (Eventide) & The Last Post - Clarinet Quintet
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Quatuor de Clarinettes: 4 clarinettes
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FACILE
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W H Monk and Traditional
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Hugh Levey
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Abide with Me
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woodwindly.com
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SheetMusicPlus
Clarinet Quartet,Woodwind Ensemble - Level 2 - SKU: A0.1176345 Composed by W H Monk and Traditional. Arranged by Hugh Levey. Christian,Patriotic,Praise ...
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Clarinet Quartet,Woodwind Ensemble - Level 2 - SKU: A0.1176345 Composed by W H Monk and Traditional. Arranged by Hugh Levey. Christian,Patriotic,Praise & Worship,Romantic Period,Sacred. 11 pages. Woodwindly.com #776472. Published by woodwindly.com (A0.1176345). Clarinet Quartet - 3 x Bb Clarinets and Bass Clarinet This publication is also available as a Clarinet Quintet (Clarinet Quartet as above plus Bb Soloist e.g. clarinet or trumpet).This arrangement combines two emotionally charged pieces of music. The 19th century hymn Abide with Me, set to the tune Eventide, is often used for funerals. The 18th century bugle call The Last Post is often played to commemorate those who have lost their lives in armed conflict and is played at annual Remembrance Day services in much of the English speaking world. Here the come together in a lovely arrangement where the soloist plays the bugle call while the clarinet quartet play the hymn. In the version without soloist, clarinet 1 plays a hymn line as well as the bugle call. This work is suitable for funerals, other solemn occasions, military events and recitals.Note that the audio and scrolling score video is of the Clarinet Quintet version. The quartet is the same arrangement but the solo part is embedded in the 1st clarinet part.
$10.50
Abide with Me (Eventide) & The Last Post - Clarinet Quintet
Abide with Me (Eventide) & The Last Post - Clarinet Quintet
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Quintette de Clarinettes: 5 clarinettes
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FACILE
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W H Monk and Traditional
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Hugh Levey
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Abide with Me
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woodwindly.com
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SheetMusicPlus
Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 2 - SKU: A0.937268 Composed by W H Monk and Traditional. Arranged by Hugh Levey. Contemporary,P...
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Clarinet Quintet,Woodwind Ensemble Bass Clarinet - Level 2 - SKU: A0.937268 Composed by W H Monk and Traditional. Arranged by Hugh Levey. Contemporary,Patriotic,Praise & Worship,Romantic Period,Sacred. 19 pages. Woodwindly.com #6255461. Published by woodwindly.com (A0.937268). Clarinet Quintet - 4 x Bb Clarinets and Bass Clarinet (Clarinet 1 as a soloist can be replaced by Bb Cornet or Trumpet) This publication is also available as a Clarinet Quartet (3 x Bb Clarinets and Bass Clarinet). This arrangement combines two emotionally charged pieces of music. The 19th century hymn Abide with Me, set to the tune Eventide, is often used for funerals. The 18th century bugle call The Last Post is often played to commemorate those who have lost their lives in armed conflict and is played at annual Remembrance Day services in much of the English speaking world. Here the come together in a lovely arrangement where the soloist plays the bugle call while the clarinet quartet play the hymn. In the version without soloist, clarinet 1 plays a hymn line as well as the bugle call. This work is suitable for funerals, other solemn occasions, military events and recitals.
$10.50
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. ÂÂ
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Jesus I Come to Thee
Jesus I Come to Thee
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Christian contemporain
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Musique Sacrée
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Stephen R Dalrymple
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Stephen R Dalrymple
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Jesus I Come to Thee
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Stephen R Dalrymple
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Euphonium,Flute,Piano,Trumpet,Violin - Level 3 - SKU: A0.818325 By Stephen R Dalrymple. By William T. Sleeper & George C. ...
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Small Ensemble Cello,Clarinet,Euphonium,Flute,Piano,Trumpet,Violin - Level 3 - SKU: A0.818325 By Stephen R Dalrymple. By William T. Sleeper & George C. Stebbins. Arranged by Stephen R Dalrymple. Contemporary,Sacred. Score and parts. 58 pages. Stephen R Dalrymple #6064111. Published by Stephen R Dalrymple (A0.818325). Jesus I Come by William Sleeper and George Stebbins arranged for flute solo with piano by Stephen R Dalrymple ♫ transcribed for solo clarinet, trumpet euphonium, violin, & cello ♫ In Matthew 10 Jesus sends His disciples out far and wide to heal the sick, announce the Kingdom of God, and prompt the people to repentance to be ready for the coming kingdom. Jesus sees many victories but in chapter 11 He criticizes certain cities for not heeding the call to repentance. Chapter 11 ends with an invitation. Come to Me. ♫ music © 2010 (copyright registered in Rejoice Ye Pure in Heart: Sacred Instrumental Arrangements.) ♫ recorded by violinist Jim Jansen with Stephen Dalrymple ♫ recording ℗ 2016 Stephen R Dalrymple and Jim Jansen ♫ presentation © 2022 Stephen R Dalrymple ♫ This .pdf file includes 14 scores. 1) individual parts for flute, clarinet, trumpet, euphonium (trombone), violin, and cello soloists. 2) A score for flute and piano. 3) Full Score for flute in small page format for performing from a 10 inch tablet and 4) the same solo parts for 10 inch tablet. Purchase price includes display and/or performance by one soloist (and accompanist) for noncommercial purposes only when attributed to the composer(s) and the arranger. (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose parts you wish to print.) Contact the arranger for other uses.
$4.50
Were You There
Were You There
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Trompette
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AVANCÉ
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Spiritual
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Rich Heffler
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Were You There
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
Trumpet solo - Level 5 - SKU: DX.W29120TP Composed by Spiritual. Arranged by Rich Heffler. Sacred instrumental music. Easter. Score and parts. Composed ...
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Trumpet solo - Level 5 - SKU: DX.W29120TP Composed by Spiritual. Arranged by Rich Heffler. Sacred instrumental music. Easter. Score and parts. Composed 2004. 5 pages. Duration 3'30. Published by David E. Smith - Digital Sheet Music (DX.W29120TP). Key: C, c.A Rich Heffler Music arrangement. This solo is presented in a reverent setting in a minor key. The middle section shifts momentarily to a major mode and then quickly back to a minor mode. The soloist is provided the opportunity to express with a fluid cad.
$5.50
The Jupiter Hymn from The Planets
The Jupiter Hymn from The Planets
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Barclay Brass Quintet
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David J
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The Jupiter Hymn from The Plan
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Sterling Music Editions
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1047989 By Barclay Brass Quintet. By Gustav Holst. Arranged by David J. Miller. 20th Centu...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1047989 By Barclay Brass Quintet. By Gustav Holst. Arranged by David J. Miller. 20th Century,Classical,Patriotic,Sacred,Wedding. Score and parts. 12 pages. Sterling Music Editions #649644. Published by Sterling Music Editions (A0.1047989). Gustav Holst's The Planets is one of the most iconic orchestral suites from the 20th Century. Arguably one of Holst's most popular pieces, it has been performed countless times since its premiere in 1918. The solemn melody from Jupiter, the Bringer of Jollity has been used as both a patriotic hymn (I vow to thee my Country) and a religious hymn (O God beyond all praising). In this setting for Brass Quintet, each musician has an opportunity to perform as soloist as the melody rises through the ensemble. Two optional endings are provided, and the piece can be played in concert, patriotic or religious settings.
$25.00
The New 23rd
The New 23rd
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Musique Sacrée
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Ralph Carmichael
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Ted Samuels
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The New 23rd
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Theodore A. Samuels
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Flute,Horn,Oboe,Trumpet,Voice - Level 2 - SKU: A0.828656 Composed by Ralph Carmichael. Arranged by T...
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Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Flute,Horn,Oboe,Trumpet,Voice - Level 2 - SKU: A0.828656 Composed by Ralph Carmichael. Arranged by Ted Samuels. 20th Century,Contemporary,Praise & Worship,Sacred,Spiritual. Score and parts. 17 pages. Theodore A. Samuels #5712635. Published by Theodore A. Samuels (A0.828656). 2020 SMP Press Composition Contest Entry for both the Popular and Sacred instrumental ensemble categories: This is a flexible wind ensemble arrangement of a hymn based on Psalm 23 and written by Ralph Carmichael in 1969. It may be performed with either a vocal or instrumental soloist in C. Otherwise, the melody may also be performed by a Bb instrument such as a clarinet or trumpet, accompanied by the rest of the ensemble consisting of: * 2 soprano C instruments such as 2 flutes or a flute and an oboe, * an Eb alto saxophone or a horn in F, and * a Bb bass clarinet or a bass C instrument like a bassoon.The duration is approximately 2 minutes. NOTE: The YouTube video link goes to a rendition which uses a wind quintet of flute, oboe, clarinet, horn and bassoon.
$15.00
Oh, Praise the Lord!
Oh, Praise the Lord!
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Kristine Johanek
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Kristine Johanek
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Oh, Praise the Lord!
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Kristine Johanek
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.707897 Composed by Kristine Johanek. Arranged by Kristine Johanek. Christian,Sacred. Octavo. 11 pages. Kristine ...
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Choral Choir (SATB) - Level 3 - SKU: A0.707897 Composed by Kristine Johanek. Arranged by Kristine Johanek. Christian,Sacred. Octavo. 11 pages. Kristine Johanek #12367. Published by Kristine Johanek (A0.707897). Oh, Praise the Lord! is an excellent choice for a special performance in which many groups can join together in praise and worship. Flexibility is built into this arrangement. The SATB choir can be accompanied by either organ or piano. A flute part adds movement. A 2nd verse melody line can be sung by soloist or children's choir. These groups can be further accompanied by optional handbells and optional brass quartet, (which can be made up of two trumpets and a combination of trombones, euphonium and/or tuba.) Perfect for 'Music Sunday' or any festival occasion. The choral octavo is also the full score, and can be used for all groups to read from. Also available for purchase are the brass quartet part and the handbell part, written out separately for ease of use.
$2.49
Pie Jesus, from Fauré's Requiem, for Trumpet and Piano
Pie Jesus, from Fauré's Requiem, for Trumpet and Piano
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Trompette, Piano
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INTERMÉDIAIRE
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Classique
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Gabriel Faure
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David McKeown
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Pie Jesus, from Fauré's
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David McKeown
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SheetMusicPlus
Piano,Trumpet - Level 3 - SKU: A0.587710 Composed by Gabriel Faure. Arranged by David McKeown. Christian,Contemporary,Romantic Period,Sacred,Standards. ...
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Piano,Trumpet - Level 3 - SKU: A0.587710 Composed by Gabriel Faure. Arranged by David McKeown. Christian,Contemporary,Romantic Period,Sacred,Standards. Score and part. 5 pages. David McKeown #4810609. Published by David McKeown (A0.587710). Pie Jesus is the fifth and central movement of Gabriel Fauré’s Requiem. The piece was premiered in Paris in 1888, and underwent several revisions in subsequent years. The Requiem was performed at Fauré’s own funeral in 1924, but it’s only in recent years that this gentle version of the Mass for the Dead has received the international recognition it deserves. Contemporary performances in Parisian churches required the Pie Jesus to be sung by a boy treble, but in the concert hall, Fauré always preferred a soprano voice for the part.This arrangement transcribes the orchestral score as a Solo for Trumpet with Piano accompaniment. Both the piano score and the solo part are included in the pdf file. The linked youtube performance is the clarinet version of this arrangement.Soloists at an intermediate level and above will find this ideal for formal and informal performances. The rhythms are straightforward, and there is plenty of scope for expressive, lyrical playing. The slow tempo though will require good breath and tone control. The piano part is suitable for an intermediate player. The overall performance time is around three and a half minutes.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203.
$4.60
Silent Night for Solo Flugelhorn (Trumpet) and piano/rhythm section
Silent Night for Solo Flugelhorn (Trumpet) and piano/rhythm section
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Trompette, Piano
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Noël
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public domain
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Jeff D
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Silent Night for Solo Flugelho
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AnderKamp Music
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SheetMusicPlus
Composed by public domain. Arranged by Jeff D. Anderson. Christian, Sacred, Jazz, Christmas, Recital. 22 pages. Published by AnderKamp Music (S0.273183). - - C...
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Composed by public domain. Arranged by Jeff D. Anderson. Christian, Sacred, Jazz, Christmas, Recital. 22 pages. Published by AnderKamp Music (S0.273183). - - Christian,Sacred,Jazz,Christmas,Recital - AnderKamp Music
If you are looking for one of those beautiful moments in a Christmas/Holiday concert, THIS is the arrangement for you. This arrangement is a nod to both Clifford Brown With Strings and one of the great living legendary flugelhorn players, Bobby Shew. Be it a church, a symphony, a school orchestra or even civic orchestra, you will LOVE playing this beautiful arrangement! The solo is written out for flugel(trumpet) Bb Treble but is also written out in in C Treble, Eb Treble and C Bass Clefs. This version contains the sheet music for the soloist (Bb, C, Eb and C Bass) plus written out piano with chords so the soloist can be accompanied by either a piano or full rhythm section. We also have the sheet music available for full chamber orchestra/ensemble. 2018 Holiday Contest Entry
$12.95
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The Sacred Trumpet Soloist
