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Vous avez sélectionné:
The Way We Were Tuba
Partitions à imprimer
30 partitions trouvées
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The Way We Were
The Way We Were
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Tuba
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INTERMÉDIAIRE
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Contemporain
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.609672 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bus...
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Tuba Solo - Level 3 - SKU: A0.609672 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376053. Published by Kevin Busse (A0.609672). This is a simple transcription of The Way We Were in the original key for Tuba.
$4.99 ≈
4.60€
The Way We Were
The Way We Were
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Tuba
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DÉBUTANT
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Contemporain
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
Tuba Solo - Level 1 - SKU: A0.609705 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bus...
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Tuba Solo - Level 1 - SKU: A0.609705 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376161. Published by Kevin Busse (A0.609705). This is a simple transcription of The Way We Were in the easy key of C for Tuba.
$4.99 ≈
4.60€
The Way We Were
The Way We Were
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Tuba
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FACILE
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Contemporain
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Barbra Streisand
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Kevin Busse
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The Way We Were
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Kevin Busse
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SheetMusicPlus
Tuba Solo - Level 2 - SKU: A0.609688 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bus...
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Tuba Solo - Level 2 - SKU: A0.609688 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376105. Published by Kevin Busse (A0.609688). This is a simple transcription of The Way We Were in a good range for Tuba.
$4.99 ≈
4.60€
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (4 Bass Tubas)
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (4 Bass Tubas)
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Tuba
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (...
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Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (A0.784337). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00 ≈
4.61€
Fifteen Safari Duets for Tubas
Fifteen Safari Duets for Tubas
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2 Tubas (duo)
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FACILE
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Jazz
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova US...
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.
In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc ?Tuba Safari? (Troy 1173) on Albany Records.
1. Elephants at Stave
This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.
2. Gallop ? Thompson Gazelle at Amboseli
This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo ? a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya.
3. Rhinos at Nairobi Game Park
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.
4. Giraffes at Nairobi Twiga Park
This is in a ?rock? style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.
5. Warthogs at Ngulia
Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.
6. Baboons at Kiliguni
This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists? tables. They will work together where one causes a diversion while the others steal.
7. Pastoral ? Cape Buffalo at Samburu
The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.
8. Song - Hippos at Mzima Springs
This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.
9. Leopards at Kimana Lodge
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night.
10. Colobus Monkeys at the Ark
This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest.
11. Zebra Migration at Masai Mara
This duet is in a ?Medium Swing? jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.
12. Ostrich at Samburu
This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.
13. Cheetah at Voi
This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.
14. Gallop ? Gerenuk at Buffalo Springs
This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.
15. Lions at Mara Sopa
This duet is in the style of a fanfare. The lion is considered the king of the savanna.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00 ≈
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Brass Quintet - Three Pastoral Sketches
Brass Quintet - Three Pastoral Sketches
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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Contemporain
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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 - SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Servic...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - 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 ≈
25.83€
The Way We Were - Tuba
The Way We Were - Tuba
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Tuba (partie séparée)
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Jazz
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James Kazik
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The Way We Were - Tuba
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Arranged by James Kazik. Standards. Concert Band. 1 pages. Duration 2:40. Published by Hal Leonard - Digital Sheet Music ...
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Arranged by James Kazik. Standards. Concert Band. 1 pages. Duration 2:40. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.53€
Up Where We Belong
Up Where We Belong
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Film/TV
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BeBe and CeCe Winans
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Peet du
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Up Where We Belong
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Peet du Toit
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1393584 By BeBe and CeCe Winans. By Buffy Sainte-Marie, Jack Nitzche, and Will Jennings. Ar...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1393584 By BeBe and CeCe Winans. By Buffy Sainte-Marie, Jack Nitzche, and Will Jennings. Arranged by Peet du. Film/TV. 12 pages. Peet du Toit #977042. Published by Peet du Toit (A0.1393584). Up Where We Belong is a song written by Jack Nitzsche, Buffy Sainte-Marie and Will Jennings that was recorded by Joe Cocker and Jennifer Warnes for the 1982 film An Officer and a Gentleman. Warnes was recommended to sing a song from the film because of her previous soundtrack successes, and she had the idea for the song to be a duet that she would perform with Cocker. Jennings selected various sections of the score by Nitzsche and Sainte-Marie in creating the structure of the song and added lyrics about the struggles of life and love and the obstacles in the way that we attempt to dodge. It was released in July of that year to coincide with the release of the film.The song reached number one on the Billboard Hot 100 in the US and topped the charts in several other countries. It also sold more than one million copies in the US and was recognized by the Recording Industry Association of America as one of the Songs of the Century. Cocker and Warnes were awarded the Grammy for Best Pop Performance by a Duo or Group with Vocals, and Nitzsche, Sainte-Marie, and Jennings won both the Academy Award and Golden Globe Award for Best Original Song.In 1984, the gospel duo BeBe & CeCe Winans recorded a religious variation of the song that received airplay on Christian radio stations, and their remake in 1996 earned them a GMA Dove Award. Various versions of the song have also been used to parody the final scene of the film on television shows such as Family Guy, The Simpsons, and South Park. The fact that the song is a ballad was seen as a misstep in Cocker's career, which had been built on performing rock and soul.The lyrics tell of the struggles of life and love and the obstacles in the way that we attempt to dodge..
$19.00 ≈
17.52€
Donut Etudes v5 - Scale Duets for 2 Tubas
Donut Etudes v5 - Scale Duets for 2 Tubas
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2 Tubas (duo)
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Methodes
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Joshua Hauser
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Donut Etudes v5 - Scale Duets
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Slide Ride
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Tuba - SKU: A0.784314 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570013. Publ...
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Instrumental Duet Instrumental Duet,Tuba - SKU: A0.784314 Composed by Joshua Hauser. Instructional. Score and parts. 41 pages. Slide Ride #3570013. Published by Slide Ride (A0.784314).  If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!  The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!  I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.  As with those exercises, you can vary these as much as you’d like. • Choose a tempo • Choose a dynamic. • Choose an articulation/style.  One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.  Practice one key, gradually speeding it up to improve fluidity or choose a variation and take it through all keys, playing version A, B, C, or D then skipping 5 lines to play the same set in a new key.  If you want an additional challenge in terms of range, play them in different octaves to expand the set.  Additionally, you can change the Key. Play them in f minor (all forms), different modes, etc. For jazz players, try swinging them in dorian or mixolydian modes.  The variations are endless!  All Donut Etudes with the same version number are compatible so you can play them in mixed duets with one person on part 1 and a different instrument on part 2.  Enjoy!
$10.00 ≈
9.22€
Chasing The Dragons
Chasing The Dragons
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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DÉBUTANT
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Film/TV
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Ost
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Alessandro Macrì
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Chasing The Dragons
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Music Macri Editions
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1232150 By Ost (original Soundtrack). By Michael Giacchino. Arranged by Alessandro Macrì...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1232150 By Ost (original Soundtrack). By Michael Giacchino. Arranged by Alessandro Macrì. Broadway,Classical,Contest,Festival,Film/TV,Musical/Show,Video Game. 13 pages. Music Macri Editions #827831. Published by Music Macri Editions (A0.1232150). Jurassic World: Original Motion Picture Soundtrack is the film score to Jurassic World composed by Michael Giacchino. The album was released digitally and physically on June 9, 2015 by Back Lot Music.Giacchino previously scored the video games Warpath: Jurassic Park and The Lost World: Jurassic Park. The score also includes the Jurassic Park theme by John Williams. Giacchino stated: It was a really targeted approach, as to where to [include Williams' themes] and where would make the most sense and where would we most appreciate it, as fans ourselves.All music is composed by Michael Giacchino, except where noted. There are various instances throughout the score that contain hints to previous themes composed by Williams. These include the end of Gyrosphere of Influence which references the theme from Jurassic Park, as well as both Costa Rican Standoff and Our Rex is Bigger Than Yours that reference motifs used in Jurassic Park's sequel, The Lost World: Jurassic Park. The track Raptor Your Heart Out also briefly features a cue composed by Giacchino for the video game adaptation of The Lost World: Jurassic Park. Tim Simonec orchestrated and conducted the score, with Jeff Kryka, Susie Bench, Peter Boyer, Brad Dechter, Mark Gasbarro, Norman Ludwin, Cameron Patrick and Chris Tilton serving as additional orchestrators. There are many tracks that were not included in the official soundtrack, such as the music played during the scene at the Jurassic Park Visitors Center, which features a piano rendition of the original Jurassic Park theme. These tracks are included in the film's complete score, which was unofficially released on December 31, 2016.
$14.00 ≈
12.91€
For the Beauty of the Earth (Brass Quintet)
For the Beauty of the Earth (Brass Quintet)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Musique Sacrée
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Conrad Kocher, Donnalyn Grunew
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Robert Coil
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For the Beauty of the Earth
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Polished Brass
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.961206 Composed by Conrad Kocher, Donnalyn Grunewald. Arranged by Robert Coil. Holiday,Prai...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.961206 Composed by Conrad Kocher, Donnalyn Grunewald. Arranged by Robert Coil. Holiday,Praise & Worship,Sacred. 16 pages. Polished Brass #6329555. Published by Polished Brass (A0.961206). This arrangement for brass quintet, is based on a tune that is often used for the lyrics, written by the German composer, Conrad Kocher, in 1836. The melody was modified by William Chatterton Dix in 1859, for a hymn titled As With Gladness Men Of Old, hence the tune is often identified in hymnals as DIX. Though there are several other hymn tunes that can be used with the text, this arrangement also uses a modern setting by Donnalynn Grunewald (2013) in triple meter. Folliott S. Pierpoint was an English teacher and poet. The words to For the Beauty of the Earth were written in 1864. The marriage of the text with the melody by Kocher/Dix is credited to an English organist, William H. Monk in 1861. The popularity of the hymn is due partly to the aptness of the text to Thanksgiving celebrations, thus assuring in annual performance. Not only do the words express thanks for the world in which we live, but it also includes thanks for family and friends, brother, sister, parent, child. Friends on earth and friends above. Also worthy of note is the universality of the sentiment, expressed in a way that can be embraced by people of any religion. The arranger, Bob Coil, is a graduate of the University of Cincinnati College-Conservatory of music, where he studied bass trombone with Betty Glover. Dr. Coil is the leader of the Bones of Cincinnatus trombone ensemble and the Polished Brass quintet in Cincinnati, OH. This arrangement is available for trombone quintet and brass quintet.
$12.99 ≈
11.98€
Abraham’s Daughter: March from the Civil War
Abraham’s Daughter: March from the Civil War
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Stephen R Dalrymple
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Abraham’s Daughter: Marc
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and...
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Concert Band - Level 3 - SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and parts. 54 pages. Stephen R Dalrymple #3566019. Published by Stephen R Dalrymple (A0.818257). Abraham’s Daughter: March from the Civil War ♫ by Septimus Winter (1861) ♫ with When Johnny Comes Marching Home by Patrick Gilmore a.k.a. Louis Lambert (1863). ♫ arranged for concert band by Stephen R Dalrymple ♫ After a family trip to Gettysburg, Antietam, Harper’s Ferry, and Ford Theater, I created a concert band arrangement to solidify the trip in my mind using a popular Civil War song from the North, “Abraham’s Daughter,†and a song used by both North and South, “Johnny Comes Marching Home.†♫ Music was a means for soldiers to release the tensions of war. By December 1861 the Union army had 28,000 musicians in 618 bands, not counting soldiers who travelled with violins and other musical instruments. Soldiers often sang as they marched by day and at night in camp. Musical duels were not uncommon between Union and Confederate bands. This idea inspired the last section of the arranger where the 2 songs are played against each other. ♫ Septimus Winner wrote “Abraham’s Daughter†in 1861 for the Minstrel stage. “Abraham’s Daughter†pictures a fresh recruit that is on his way to Washington DC to be processed and trained for future battles. ♫ Given the unpublished verses we have, Abraham’s Daughter was undoubtedly sung and embellished by Union soldiers as they travelled from battlefield to battlefield. ♫ Winner is also known for writing “Ten Little Injuns†“Listen to the Mockingbird†and “Where, Oh Where Has My Little Dog Gone?†♫ Abraham Lincoln had 4 sons, Robert Todd, Edward Baker, William Wallace, and Thomas (Tad); but no daughters. So, who is Abraham’s daughter? ♫ Oh! Should you ask me who she am, Columbia is her name, sir; She is the child of Abraham, Or Uncle Sam, the same, sir. Now if I fight, why ain't I right? And don't you think I oughter. The volunteers are a-pouring in From every loyal quarter, And I'm goin' down to Washington To fight for Abraham's daughter. ♫ At the beginning of the war, the majority of soldiers, North and South, were fighting to uphold their view of government, each side justifying its position by quoting the Constitution. Southern States saw each State as a sovereign, independent nation. Abraham Lincoln insisted that the United States were one nation. For Abraham Lincoln, the purpose of the war was to preserve the Union. The undivided union was Lincoln’s daughter. ♫ arrangement © 2000, 2013 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Bassoon, Trumpet 1, Trumpet 2, F Horn, Trombone, Treble Clef Baritone, Tuba, Electric Bass, Snare and Bass Drums, Cymbals, and Bells. 3) Condensed Conductor’s Score in a smaller format for use in a 10 inch tablet 4) The same parts formatted for a 10 inch tablet. ♫ The YouTube video contains a full recording.
$19.00 ≈
17.52€
Jesus Is The Way (Anthem) - Orchestration
Jesus Is The Way (Anthem) - Orchestration
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Orchestre
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Christopher R
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Jesus Is The Way
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Christopher Brown
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.747198 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 77 pages. Christo...
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Full Orchestra - Level 3 - SKU: A0.747198 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 77 pages. Christopher Brown #4628085. Published by Christopher Brown (A0.747198). About the song: In John 14, Jesus says, I am the way, the truth and the life. No one comes to the Father except through me. We are severely mistaken if we think that any other road leads to peace with God. No amount of good deeds could pay for the debt we owe. But we are also mistaken if we think that we are too far gone from Christ's reach. This song is a message for both the self-righteous and the hopeless. There is a Way that leads to life forevermore with our Heavenly Father, and His Name is Jesus Christ. All who enter through the gate of Christ by faith will be saved. He came that you might have life, and have it to the full. Rejoice! If you can believe, believe!Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1There’s a way that seems right to the human eye,A path that we think is best.We pretend to go on believing,That a good life can pass the test.But the best that we have to offer,Is no more than a filthy rag.When we stand before God, the Father,There is only one Name that will save.Chorus 1Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way.Verse 2We were shackled in chains of sin and shame,Walking blinded by selfish gain.Every turn led to disappointment,Wanting more with each passing day.Prechorus 2But the blood of a precious Saviour,Can remove every guilty stain.He will carry your ev’ry burden,There is hope in Him today!Chorus 2Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way.BridgeStraight and narrow is the road that leads to life forevermore,There’s only One Who paid the price,The perfect, spotless sacrifice,Only Jesus Christ!Chorus 3Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way,Jesus is The Way!
$49.99 ≈
46.11€
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (Tuba/Euphonium)
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (Tuba/Euphonium)
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.784348 Composed by Joshua Hauser. Instructional. Score and parts. 74 pages. Slide Ride #5288731. Published by Slide R...
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Small Ensemble - Level 3 - SKU: A0.784348 Composed by Joshua Hauser. Instructional. Score and parts. 74 pages. Slide Ride #5288731. Published by Slide Ride (A0.784348). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instrumentsIf this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$7.50 ≈
6.92€
Donut Etudes vol. 3: Don’t Step in the Holes! – Brass Quartet or Quintet
Donut Etudes vol. 3: Don’t Step in the Holes! – Brass Quartet or Quintet
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.784343 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Sli...
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.784343 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288693. Published by Slide Ride (A0.784343). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$15.00 ≈
13.84€
The Glastry Pearl. Tone Poem Elegy For My Mum.
The Glastry Pearl. Tone Poem Elegy For My Mum.
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Orchestre
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AVANCÉ
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Geraldine
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The Glastry Pearl. Tone Poem E
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldin...
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Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00 ≈
184.47€
Brass Band - Impressions of the English Lakes
Brass Band - Impressions of the English Lakes
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Contemporain
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Mike Lyons
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Brass Band - Impressions of th
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Lyons Music Services
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 5 - SKU: A0.767216 Composed by Mike Lyons. 20th Century,Contemporary. Brass Band. 133 pages. Lyons Music Services #3077555. Published by Lyons Music Services (A0.767216). This is one of my favourite compositions, which took me several years to complete. It was inspired by a trip to the Lake District in the North West of England in 2000. The landscape is beautiful and we were blessed with wonderful weather and good friends. Although the piece is continuous, there are distinct sections that cover my impressions of the countryside at different points. These are labelled in the score and parts: The Mountains, Airforce Fly Past, The Ramblers, A Brief Downpour, Windermere, Scafell Pike, Haverthwaite Railway, An Abandoned Farm, The Celtic Influence, Helvellyn and Mr Jeremy Fisher. The piece concludes with a final, brief glimpse of the mountains.Mr Jeremy Fisher refers, of course, to the Beatrix Potter character who was nearly eaten by a fish.This would make an excellent own-choice test piece and, at just over 10 minutes, would make a good piece in an entertainment contest programme. Suitable for bands from 3rd section upwards.Parts supplied are for British Brass Band (All TC transposed, except Bass Trombone) plus Timps, Percussion 1
$50.00 ≈
46.12€
Too Much For Our Thirst (Trombone and Piano)
Too Much For Our Thirst (Trombone and Piano)
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alexander Burdiss
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Too Much For Our Thirst
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Ars Nova Press
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SheetMusicPlus
Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Publishe...
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Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99 ≈
9.21€
Rhythms of the Spirit
Rhythms of the Spirit
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Orchestre d'harmonie
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Contemporain
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James M
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Rhythms of the Spirit
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Jim Stephenson Music, Inc.
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SheetMusicPlus
Concert Band - SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48491. Published b...
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Concert Band - SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48491. Published by Jim Stephenson Music, Inc. (A0.1030888). Written by internationally renowned, Chicago-based composer, James M. Stephenson stephensonmusic.com Jim@Stephensonmusic.com Product info: http://stephensonmusic.com/product/rhythms-of-the-spirit Facebook: https://www.facebook.com/jim.stephenson.946 Twitter: https://twitter.com/ComposerJim YouTube: https://www.youtube.com/user/JimmyThird/featured Duration: 9' Commissioned by and dedicated to the Grand Symphonc Winds; Matthew George, Music Director. Premiered May 2, 2013. Notes about the Music: In the spring of 2012, I was in Minnesota attending some performances, and had the fortunate opportunity of catching up with Matthew George, conductor of the Grand Symphonic Winds. Matt had given the world premiere performance of my Concerto for Brass Quintet (Dodecafecta), and has always had a major presence in the formation of new works for winds, so I was very delighted when he brought up the idea of a new work for his group. The Grand Symphonic Winds, in honor of their 25th anniversary, were looking to celebrate the influx of many international cultures which had become a significant part of the landscape in Minnesota. This immediately called out to me in musical terms, namely in the forms of rhythms and spirituality (hence the title!) The piece opens and closes with heroic and beautiful music, signifying (to me) what most cultures seem to all be saying, but in different languages: we all just want peace, harmony and love. The entire middle section is very rhythmic, using many percussion instruments found in different cultures, also represented in Minnesota: Latin America (claves, bongos), Africa (Djembe) and if possible, Southeast Asia (Dholak). And just for fun, I even spelled out Minnesota in Morse code, but this was merely for my own enjoyment! I wish to thank Matt George, for all he has done for the field of music in Wind Ensembles, and specifically to him and the Grand Symphonic Winds for entrusting to me the responsibility of composing this new work, which I truly hope finds its home in the literature. Jim Stephenson March, 2013 Instrumentation: Wind Ensemble – one per part, except: 2 tubas recommended, French Horns doubled Recommended: Rhythm percussion sit in the middle of the ensemble, or immediately in front of the conductor, where visible to audience. Percussion instruments needed: Snare Drum, Bass Drum, Cymb. a2 Claves, Djembe, Marimba, Triangle, Vibes, Bongos (or Dholak) Xylophone, Glock., Tambourine, Sus. Cymb. (if desired, the Dholak could replace the Bongos, using high/low sounds).
$140.00 ≈
129.13€
El Condor Pasa (If I Could)
El Condor Pasa (If I Could)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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DÉBUTANT
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Daniel Alomia Robles, Jorge Mi
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El Condor Pasa
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Peet du Toit
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823). This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).
$15.00 ≈
13.84€
When We Were Young
When We Were Young
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Adele
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Neil Samuel
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When We Were Young
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Neil Samuel Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - SKU: A0.1249657 By Adele. By Adele Adkins and Tobias Jesso Jr. Arranged by Neil Samuel. Contemporary,Pop,Singer/Songwriter,Soul. Brass Band. 62 pages. Neil Samuel Music #844061. Published by Neil Samuel Music (A0.1249657). Arranged as a Tenor Horn Solo with Brass Band accompaniment. When We Were Young is a song by English singer Adele from her third studio album, 25. Inspired by the vision of meeting acquaintances at a party at an older age, it explores the fear of getting older and the loss of one's youth.When We Were Young received acclaim from music critics, with praise directed towards its production and emotional lyrics. The song reached the top 10 in 11 countries, including the United Kingdom, Canada, and Scotland. It received a 5× Platinum certification in Canada, a 3× Platinum certification in the UK, and a 2× Platinum certification in Denmark and Norway.Â
$30.00 ≈
27.67€
Farewell Celebration (for Brass Quintet)
Farewell Celebration (for Brass Quintet)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Farewell Celebration
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158678 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic. 30 pages. Https://gil...
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Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158678 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic. 30 pages. Https://gildedmusicpress.com/ #758696. Published by https://gildedmusicpress.com/ (A0.1158678). The opening of this 4-minute piece is dance-like, intimating a celebratory mood up front—alone at first, but shared with the ensemble throughout the piece. After much celebration, the piece ends solemnly, as if giving each other final hugs and good-byes. Every Airman has a story to tell. “Farewell Celebration†is part of my story as an Airman musician. It is a fitting farewell to the Heartland of America Band stationed at Offutt Air Force Base in Bellevue, Nebraska, and to the entire American Midwest, as my family and I finalized our plans to uproot for an extraordinary three-year adventure in Asia. Work on this composition began toward the end of July and beginning of August 2021 as a melody with instructions to be the opening of a brass quintet piece, beginning with trumpet alone. It remained in that state until January 2022 when I entered this sketch into the computer to be worked on sporadically along with several other works in progress. When I contracted Covid-19 in July 2022, all of these works and other incipient pieces received attention, but this one more than most others. In the fall, I felt an urgency to complete it as a sentimental gesture of enthusiastic good-byes due to many life changes taking place. In particular, my fourth son, Paul, was departing for two years for Brazil. I was compelled to complete this work before he left on October 17, 2022, which I accomplished the day prior to his departure. In addition to Paul’s farewell, two co-workers with whom I had worked closely in the Air Force brass quintet called “Offutt Brass,†were also moving on with new exciting chapters in their lives. MSgt Ben Kadow, our fantastic trombonist, had received an assignment to move to Germany, leaving us on November 8. And MSgt Ryan Heseltine, our unparalleled French horn player, retired at the end of the year. On top of all that, in September I was given an assignment to move to Japan the following summer. Some farewells are more difficult to endure than others, though all seem to have varied brands of profound emotion. In contrast to saying good-bye to a loved one who passes away, all of these farewells were joyful, albeit poignant. “Farewell Celebration†is dedicated to my son Paul, to my outstanding professional colleagues, Ben Kadow and Ryan Heseltine, and to all our friends and family members who we left behind as we moved to Japan.
$24.95 ≈
23.01€
It's A Small Jurassic World
It's A Small Jurassic World
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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FACILE
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Film/TV
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Ost
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Alessandro Macrì
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It's A Small Jurassic World
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Music Macri Editions
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1233598 By Ost (original Soundtrack). By Michael Giacchino. Arranged by Alessandro Macrì...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1233598 By Ost (original Soundtrack). By Michael Giacchino. Arranged by Alessandro Macrì. Broadway,Classical,Contest,Festival,Film/TV,March,Musical/Show. 20 pages. Music Macri Editions #829185. Published by Music Macri Editions (A0.1233598). Jurassic World: Original Motion Picture Soundtrack is the film score to Jurassic World composed by Michael Giacchino. The album was released digitally and physically on June 9, 2015 by Back Lot Music.Giacchino previously scored the video games Warpath: Jurassic Park and The Lost World: Jurassic Park. The score also includes the Jurassic Park theme by John Williams. Giacchino stated: It was a really targeted approach, as to where to [include Williams' themes] and where would make the most sense and where would we most appreciate it, as fans ourselves.All music is composed by Michael Giacchino, except where noted. There are various instances throughout the score that contain hints to previous themes composed by Williams. These include the end of Gyrosphere of Influence which references the theme from Jurassic Park, as well as both Costa Rican Standoff and Our Rex is Bigger Than Yours that reference motifs used in Jurassic Park's sequel, The Lost World: Jurassic Park. The track Raptor Your Heart Out also briefly features a cue composed by Giacchino for the video game adaptation of The Lost World: Jurassic Park. Tim Simonec orchestrated and conducted the score, with Jeff Kryka, Susie Bench, Peter Boyer, Brad Dechter, Mark Gasbarro, Norman Ludwin, Cameron Patrick and Chris Tilton serving as additional orchestrators. There are many tracks that were not included in the official soundtrack, such as the music played during the scene at the Jurassic Park Visitors Center, which features a piano rendition of the original Jurassic Park theme. These tracks are included in the film's complete score, which was unofficially released on December 31, 2016.
$16.00 ≈
14.76€
Twenty-two Skeletal Duets for Horns
Twenty-two Skeletal Duets for Horns
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2 Cors (duo)
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FACILE
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Gregory Fritze
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Twenty-two Skeletal Duets for
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Musica Nova USA
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SheetMusicPlus
Instrumental Duet Horn,Instrumental Duet - Level 2 - SKU: A0.917408 Composed by Gregory Fritze. Classical,Concert,Contemporary,Instructional,Jazz. Score...
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Instrumental Duet Horn,Instrumental Duet - Level 2 - SKU: A0.917408 Composed by Gregory Fritze. Classical,Concert,Contemporary,Instructional,Jazz. Score and parts. 50 pages. Musica Nova USA #6015057. Published by Musica Nova USA (A0.917408). Twenty-two Skeletal Duets for Horns is a set of duets of easy to moderate difficulty specifically designed for teachers to play with their students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional seven duets were added in 2020. The title of each duet is a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Trombones and Nineteen Skeletal Duets for Euphoniums are the same duets but in bass and treble clef respectively. Twenty- two Skeletal Duets for Horns includes the first 19 as in the trombones set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.1. CraniumThis duet presents the cantabile singing style as studied for playing the horn. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.2. StirrupThis duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo where the less skilled students work best in the slower tempos – a common choice for all of the duets.3. HumerusThis waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.4. VertebraThis is in a rock style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.5. AxisLegato scales and syncopated rhythms are the features of this duet.6. TibiaThis duet alternates in rock style and swing. Articulations and manipulation of swing rhythms are important.7. ClavicleThis duet is based on a theme by Beethoven.
$20.00 ≈
18.45€
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The Way We Were Tuba
