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30 sheet music found Gaúcho - Corta-Jaca By Chiquinha Gonzaga for band
Gaúcho - Corta-Jaca By Chiquinha Gonzaga for band # Concert band # EASY # Francisca Gonzaga # Idalmo Santos # Gaúcho - Corta-Jaca By Chiqui # Idalmo Santos # SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Cen...(+)
Concert Band - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, TurÃbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon. Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series) # Orchestra # INTERMEDIATE # Patriotic # Manuel de
Espinosa de los Mo # Keith Terrett # Spanish National Anthem for Sy # Music
for all Occasions # SheetMusicPlus
Full Orchestra - Intermediate
- Digital Download
Composed by Manuel de
Espinosa de los Monteros
(1730-1810). Arranged by
Keith Terrett. Classical
Per...(+)
Full Orchestra - Intermediate
- Digital Download
Composed by Manuel de
Espinosa de los Monteros
(1730-1810). Arranged by
Keith Terrett. Classical
Period, European, Patriotic.
30 pages. Published by Music
for all Occasions The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!
The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.
One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.
There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.
According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.
After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.
The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.
Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.
Interpretation and etiquette:
Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.
The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.
Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.
The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.
The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.
There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.
As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.
As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com Upper-Hessian Country Dances
Upper-Hessian Country Dances # Concert band # INTERMEDIATE # Ottmar Gerster # Norbert Studnitzky # Upper-Hessian Country Dances # Schott Music - Digital # SheetMusicPlus
Wind band - intermediate - Digital Download SKU: S9.Q20961 Composed by Ottmar Gerster. Arranged by Norbert Studnitzky. This edition: condensed score. Sch...(+)
Wind band - intermediate - Digital Download SKU: S9.Q20961 Composed by Ottmar Gerster. Arranged by Norbert Studnitzky. This edition: condensed score. Schott Harmony Series. Downloadable, Conductor reduction. Duration 12 minutes. Schott Music - Digital #Q20961. Published by Schott Music - Digital (S9.Q20961). These four entertaining movements originated in the Thirties. They are an example of popular original compositions of high quality. The work was originally written for small orchestra. Norbert Studnitzky has arranged this series of dances for wind band and at the same time also retained longer chamber music pasages as in the original work.Thus here we have a work for wind band which on the one hand is suitable for developing a musical sense of humour in a playful way and which can also be performed on stage with a group of folk dancers. Ottmar Gerster studied in Frankfurt/main and then taught composition an several colleges of music in Leipzig. his music aims to be accesible to all listeners, even when he uses advanced composition techniques.(2 Flöten, 1 Oboe ad lib., 1 Fagott ad lib., 1 Klarinette in Es ad lib., 3 Klarinetten in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 3 Hörner in F, 3 Trompeten in B, 3 Posaunen, 2 Flügelhörner in B, 3 Tenorhörner in B, 1 Bariton, 2 Tuben, Pauken, Schlagzeug: kleine Trommel, große Trommel, Triangel, Becken). Upper-Hessian Country Dances
Upper-Hessian Country Dances # Concert band # INTERMEDIATE # Ottmar Gerster # Norbert Studnitzky # Upper-Hessian Country Dances # Schott Music - Digital # SheetMusicPlus
Wind band - intermediate - Digital Download SKU: S9.Q40353 Composed by Ottmar Gerster. Arranged by Norbert Studnitzky. This edition: set of parts. Schott...(+)
Wind band - intermediate - Digital Download SKU: S9.Q40353 Composed by Ottmar Gerster. Arranged by Norbert Studnitzky. This edition: set of parts. Schott Harmony Series. Downloadable, Set of parts. Duration 12 minutes. Schott Music - Digital #Q40353. Published by Schott Music - Digital (S9.Q40353). These four entertaining movements originated in the Thirties. They are an example of popular original compositions of high quality. The work was originally written for small orchestra. Norbert Studnitzky has arranged this series of dances for wind band and at the same time also retained longer chamber music pasages as in the original work.Thus here we have a work for wind band which on the one hand is suitable for developing a musical sense of humour in a playful way and which can also be performed on stage with a group of folk dancers. Ottmar Gerster studied in Frankfurt/main and then taught composition an several colleges of music in Leipzig. his music aims to be accesible to all listeners, even when he uses advanced composition techniques.(2 Flöten, 1 Oboe ad lib., 1 Fagott ad lib., 1 Klarinette in Es ad lib., 3 Klarinetten in B, 2 Alt-Saxofone in Es, 1 Tenor-Saxofon in B, 3 Hörner in F, 3 Trompeten in B, 3 Posaunen, 2 Flügelhörner in B, 3 Tenorhörner in B, 1 Bariton, 2 Tuben, Pauken, Schlagzeug: kleine Trommel, große Trommel, Triangel, Becken). Saint-Saëns: Danse Macabre for Concert Band
Saint-Saëns: Danse Macabre for Concert Band # Concert band # INTERMEDIATE # Classical # Camille Saint-Saens # James M # Saint-Saëns: Danse Macabre fo # jmsgu3 # SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pa...(+)
Concert Band - Level 3 - Digital Download SKU: A0.549996 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. Romantic Period,Standards. 118 pages. Jmsgu3 #4366268. Published by jmsgu3 (A0.549996). Full-length arrangement for Concert Band. Instrumentation: 2 flutes, 1 oboe, 2 Bb clarinets, 1 bass clarinet, 2 alto saxes, 1 tenor sax, 1 baritone sax, 2 Bb trumpets, 2 horns in F, 2 tenor trombones, 1 tuba. Melodic percussion: xylophone (or marimba) chimes (or tubular bells). Percussion 1: snare drum, crash cymbals, gong. Percussion 2: bass drum, crash cymbals, gong.The significance of Saint-Saëns' Danse Macabre lies in its representation of death as the great social equalizer and its association with Halloween and the macabre. Originally an art song for voice and piano, the piece was later expanded and reworked into a tone poem for violin and large orchestra, becoming one of Saint-Saëns' most famous works.Representation of Death: Danse Macabre was inspired by the French legend that Death plays the fiddle at midnight on Halloween, causing the skeletons in the cemetery to crawl out of their graves for a dance party. The theme of death as the great social equalizer, where no one can escape the dance with death, is depicted in the music and has inspired various paintings and art pieces.Composition and Reception: The piece is in the key of G minor and scored for an obbligato violin and an orchestra of various instruments.  When it was first performed in 1875, Danse Macabre received mixed reviews, with some critics expressing anxiety due to its dissonance, use of a xylophone, and hypnotic repetitions. However, it is now considered one of Saint-Saëns' masterpieces and is widely regarded and reproduced in high and popular culture. Can Can (Orchestra/ Concert Band Flexible Instrumentation)
Can Can (Orchestra/ Concert Band Flexible Instrumentation) # Concert band # EASY # Opera # Classical # Jacques Offenbach # Frank Chow # Can Can # Frank Chow # SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.902747 Composed by Jacques Offenbach. Arranged by Frank Chow. Children,Instructional,Opera,Romantic Per...(+)
Concert Band - Level 2 - Digital Download SKU: A0.902747 Composed by Jacques Offenbach. Arranged by Frank Chow. Children,Instructional,Opera,Romantic Period. Score and parts. 29 pages. Frank Chow #6856031. Published by Frank Chow (A0.902747). Can Can is composed by French composer Jacques Offenbach. Appearing in the comic opera Orpheus in the Underworld, it is the most popular can-can music, which represents a high-energy and physically demanding dance in France. The flexible instrumentation arrangement enables a mixture of instruments, from small ensemble to full orchestra. For instruments of Part 2 and 4, the range is within one octave, which makes the music suitable for junior players who played the instrument for around 1 year. Essential fingerings and bowings are provided in the string parts.InstrumentationPart 1: Violin, Flute, Oboe, Clarinet, TrumpetPart 2: Violin, Clarinet, Alto Saxophone, TrumpetPart 3: Viola, Alto Saxophone, Tenor Saxophone, Bassoon, Horn, Trombone, EuphoniumPart 4: Cello, Double Bass, Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, TubaPercussion: Timpani, Bass Drum, Cymbal, Triangle, Mallet PercussionCondense Score & Full ScoreContactEmail:walter1994430@gmail.comWebsite: https://walter1994430.wixsite.com/frankchow The Trumpet Polka
The Trumpet Polka # Concert band # ADVANCED # Classical # Herman Koenig # John M # The Trumpet Polka # zephyrwindmusic.com # SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1007977 Composed by Herman Koenig. Arranged by John M. Laverty. Romantic Period. Score and parts. 113 p...(+)
Concert Band - Level 5 - Digital Download SKU: A0.1007977 Composed by Herman Koenig. Arranged by John M. Laverty. Romantic Period. Score and parts. 113 pages. Zephyrwindmusic.com #4348177. Published by zephyrwindmusic.com (A0.1007977). The Trumpet Polka, first published in 1856 as part of the Jullien Military Band Journal is a typical composition composed for and used as dance music during the Victorian era. It employees both trumpets and cornets, showcasing the trumpets. The form is that of a dance piece, with large repeated sections designed to be choreographed by a large group of dances, an activity popular at the time. While there is much known about Herman Koenig (1815-1870), there is much that is still somewhat of a mystery, like exactly where he was born and died. What is known is that he was perhaps the ï¬rst cornetist who was indeed an international star. Born in Germany, he became well-known in London as a featured soloist in Louis Jullien’s famous Drury Lane Orchestra in the 1840s. His travels took him to America in 1853 with Jullien in what was the ï¬rst major tour of a European orchestra in America. He also played violin, was a composer and publisher, a music educator, and he helped design and market a cornet, what is known today as the Koenig Cornet. Mountain Goats And Other Creatures
Mountain Goats And Other Creatures # String Orchestra # INTERMEDIATE/ADVANCED # Vessela Stoyanova # Mountain Goats And Other Creat # Vessela Stoyanova # SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1201464 By Vessela Stoyanova. By Vessela Stoyanova. Folk,Multicultural,World. Score and parts. 89 p...(+)
String Orchestra - Level 4 - Digital Download SKU: A0.1201464 By Vessela Stoyanova. By Vessela Stoyanova. Folk,Multicultural,World. Score and parts. 89 pages. Vessela Stoyanova #798931. Published by Vessela Stoyanova (A0.1201464). “Mountain Goats and Other Creatures†was Commissioned by Rachel Jayson and the Lexington High School Symphony Orchestra.It was inspired by the folk music of my native land of Bulgaria, informed by my experience as a rock musician, reimagined through the lense of my place inside of a community of like-minded artists and musicians, where I have made my real home today. The first movement - Mountain Goats - is a sort of celebration of renewal, promise, and hope. It represents the tenacious will of grass growing through the snow of early spring, the powerful longing for human connection, the warmth of the sun against your skin on a bright chilly day. It carries both the pristine optimism of youth, and the nervous energy of trying something for the first time. The second movement - Samodivi - in contrast is dark, heavy and full of passion and desire. According to Balkan myths, Samodivi are gorgeous nymphs who live in the woods and often seduce men with their beautiful song and dance. They are feared and envied at the same time. The music of the second movement represents the mysterious dark forest at night - lower strings create the moss under your feet, higher strings use extended techniques to simulate the noise of branches clicking the wind, a few soloists represent different creatures - both real and imaginary - scurry through the woods above your head. Then you hear the lone song of a Samodiva in the distance, your heart is beating hard, your steps are leading you straight towards the call against your better judgement. It is the ancient story of fear and desire, of self control and complete abandon. You, the listener, become witness to a wild dance, fire in the woods, snakes in their long blond hairs, slender bodies dressed in white clouds dancing to an imaginary beat.  Then it all ends abruptly and you left to wonder: Was it real? Did I see it? Am I safe?The third and final movement of the piece is based on a popular rhythmic folk dance in Bulgaria called Kopanitsa, while the melody creates a fugue between the different voices of the orchestra. The Kids are the little of the mountain goats - free to frolic high above tree line, above any human traces, as close to the clouds as one can get and still be touching the ground below. They are carefree, daring, and somewhat naive, yet safe under the watchful gaze of their parent. The movements ends in cascading repetitions of a musical motif in 5/8 representing the relentless passing of time or at least our perception of it.