Download Digital Sheet Music of Over the Edge for Brass quartet : 2 trumpets, trombone, tuba

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Over the Edge
Not classified 62

Piano & keyboards
Piano solo 61
Piano, Voice 20
Easy Piano 14
Piano, Vocal and Guitar 9
Big Note Piano 2

Piano Accompaniment 2
Organ 2
Piano Trio: piano, violin, cello 1
C Instruments 1
2 Pianos, 4 hands 1
Keyboard 1

+ 6 instrumentations

- Retract

Guitars
Guitar notes and tablatures 8
Guitar 7
Dulcimer 6
Bass guitar 5
Banjo 2

Mandolin 2
Guitar, Violin, Cello (trio) 1

+ 2 instrumentations

- Retract

Voice
Choral SATB 20
Choral 3-part 6
Choral SSAA 2
Choral Unison 2
Tenor voice 1

Tenor voice, Piano 1
Soli, Mixted choir and accompaniment 1
Choral TTBB 1

+ 3 instrumentations

- Retract

Woodwind
2 Saxophones (duet) 5
Clarinet 4
Oboe (band part) 4
Alto Saxophone 3
Flute and Piano 3

Saxophone, Clarinet (duet) 3
Clarinet Quartet: 4 clarinets 2
Alto Saxophone and Piano 2
Soprano Saxophone and Piano 2
Clarinet, Violin (duet) 2
Flute 2
Saxophone (band part) 2
Oboe, Clarinet (duet) 1
Clarinet, Cello (duet) 1
Clarinet and Viola 1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1
Flute ensemble 1
2 Flutes (duet) 1
3 Clarinets (trio) 1
Flute, Violin 1
Flute, Saxophone (duet) 1
2 Clarinets (duet) 1
Flute Quartet: 4 flutes 1
2 Oboes (duet) 1
Harmonica 1
Oboe, Flute 1
Flute, Clarinet (duet) 1

+ 22 instrumentations

- Retract

Woodbrass
Trombone 4
Trumpet 4
Brass quartet : 2 trumpets, trombone, tuba 3

Brass Quintet: 2 trumpets, horn, trombone, tuba 3
Trumpet, Saxophone (duet) 2

2 Trumpets (duet) 2
2 Trombones (duet) 1
Trumpet, Trombone (duet) 1
French horn 1
Tuba 1

+ 5 instrumentations

- Retract

Strings
Harp 26
String Quartet: 2 violins, viola, cello 20
Violin, Cello (duet) 9
Violin 8
Cello (band part) 4

Viola 4
Violin and Piano 3
Double Bass 2
2 Violins (duet) 2
Viola, Piano 2
2 Cellos (duet) 1
2 Violas (duet) 1
Violin, Viola (duet) 1
4 Harps 1
Viola (band part) 1
String Quintet: 2 violins, viola, cello, bass 1

+ 11 instrumentations

- Retract

Percussion & orchestra
Concert band 13
Orchestra 9
String Orchestra 7
Chamber Orchestra 4
Percussion Ensemble 2

Brass ensemble 2
3 Percussions 1
Drums 1

+ 3 instrumentations

- Retract

Others
Music Theory 1

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Over the Edge

Brass quartet : 2 trumpets, trombone, tuba

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3 sheet music found

Song Of The Jet (samba Do Avião)

Song Of The Jet (samba Do Avião) #Brass quartet : 2 trumpets, trombone, tuba #INTERMEDIATE #Contemporary #Antonio Carlos Jobim #Peet du Toit #Song Of The Jet #Peet du Toit #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802574 Composed by Antonio Carlos Jobim. Arranged by Peet du Toit. Contemp...(+)

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802574 Composed by Antonio Carlos Jobim. Arranged by Peet du Toit. Contemporary. Score and parts. 11 pages. Peet du Toit #5801391. Published by Peet du Toit (A0.802574). Samba do AviÃ£o (a.k.a. Song of the Jet, translated literally as Airplane Samba) is a Brazilian song composed in 1962 by AntÃ´nio Carlos Jobim, who also wrote the original Portuguese lyrics. The English-language lyrics are by Gene Lees.In the biography Antonio Carlos Jobim: An Illuminated Man, Helena Jobim describes how her brother came up with the idea for the song: Tom's many walks from Ipanema to Santos Dumont Airport yielded that ode of beauty... He would head towards the airport, following the water's edge around Guanabara's Bay. The pretext to go there was to buy foreign magazines and newspapers. From Santos Dumont Airport he could observe his passion, the airplane. Yet he still kept some distance from those machines. He was afraid of flying, but he loved their power, splendor, and aerodynamics-man's conquest over machine.In the song, Jobim writes about landing at GaleÃ£o in Rio de Janeiro. The airport was renamed in his honor in 1999 and is now called Rio de Janeiroâ€“Antonio Carlos Jobim International Airport.Jobim wrote Samba do AviÃ£o for an Italian film, Copacabana Palace (1962), where it was performed by Jula De Palma and I 4 + 4 di Nora Orlandi. The movie was filmed in Rio and features cameo appearances by Jobim, JoÃ£o Gilberto and Os Cariocas.The first performance of the song was by Jobim and Os Cariocas in August 1962 at the Au Bon Gourmet restaurant in Copacabana, Rio, at what music historian Ruy Castro calls the bossa nova show to end all bossa nova shows, as it featured Jobim, JoÃ£o Gilberto, VinÃcius de Moraes and Os Cariocas on stage together for the only time.The first recording of the song was released in October 1962 by Elza Laranjeira. Os Cariocas had a hit with their rendition in 1963.The first English-language version was by Tony Bennett for his 1965 album If I Ruled the World: Songs for the Jet Set.Here is my brass quintet version of the song for your enjoyment.

$13.00 ≈ 11.98€

A Billings Triptych - for 8-Part Brass Choir

A Billings Triptych - for 8-Part Brass Choir #Brass quartet : 2 trumpets, trombone, tuba #INTERMEDIATE #William Billings #Mike Allsen #A Billings Triptych - for 8-Pa #Aaron Hettinga #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,P...(+)

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615). William Billings (1746-1800) was North Americaâ€™s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching â€œsinging-schools,â€ where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billingsâ€™s works were hymns or â€œpsalm tunes.â€ He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings â€œpsalm tunes,â€ Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Masterâ€™s Assistant during the height of the war in 1778, Billings added a verse calling out the â€œinfernal leagueâ€ of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schumanâ€™s 1957 band piece A New England Triptych. Billings also composed over 50 â€œfuging-tunesâ€â€”a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn â€œWhen I With Pleasing Wonder Standâ€ though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn â€œNow Shall My Inward Joys Arise.â€ I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.

$34.99 ≈ 32.24€

I've Gotta Get A Message To You

I've Gotta Get A Message To You #Brass quartet : 2 trumpets, trombone, tuba #EASY #Bee Gees #Peet du Toit #I've Gotta Get A Message To Yo #Peet du Toit #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged ...(+)

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 23 pages. Peet du Toit #6197563. Published by Peet du Toit (A0.802647). I've Gotta Get a Message to You is a song by the Bee Gees. Released as a single on 7 September 1968, it was their second number-one single on the UK Singles Chart and their first US Top 10 hit.The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife. Robin Gibb, who wrote the lyrics, said that the man's crime was the murder of his wife's lover, though the lyrics do not explicitly allude to the identity of the victim. Robin said, This is about a prisoner on Death Row who only has a few hours to live. He wants the prison chaplain to pass on a final message to his wife. There's a certain urgency about it. Myself and Barry wrote it. It's a bit like writing a script. Sometimes you can sit there for three hours with your guitar and nothing will happen. Then in the last ten minutes something will spark. The song was written with Percy Sledge in mind to record it. Sledge did record it in February 1970 but Atlantic did not issue his version in the United States at the time.Barry recalled, In those days, the lyrics were almost pretty well done on the spot. I don't remember the fundamentals on how the lyrics were formed, except that we were writing about a guy on death row. That was it.Robin adds:It was like acting, you see, we said, let's pretend that somebody, his life is on the line, somebody's going to the chair. What would be going through their mind? Let's not make it doom and gloom but sort of an appeal to the person he loves. Because right now that's all he cares about. Regardless of whether he's done a bad thing, he is a human being, and he's sending out this last message. There's someone out there whom he loves. It's a torch song, but within a very sort of theatrical sense. Not sort of abstract, but definitely somebody in a very bad situation whose life is going to end. What would they be saying, you know? This is it: 'Gotta get a message to you, hold on.Revive this hit on your brass instruments and enjoy!

$17.00 ≈ 15.67€