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You've selected:
Concert band, Choral
ORCHESTRA - BAND
Sheetmusic to print
1,293 sheet music found
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Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
#
Concert band
#
EASY
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Jubilate Deo Ch. 136
#
jmsgu3
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.75€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
#
Concert band
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least 2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.75€
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
#
Concert band
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.75€
KYRIE ELEISON (concert band, medium easy, score, parts & license to copy)
KYRIE ELEISON (concert band, medium easy, score, parts & license to copy)
#
Concert band
#
EASY
#
Antonio Lotti
#
Brian Harris
#
KYRIE ELEISON
#
Bandroom.com Publications
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.859753 Composed by Antonio Lotti (c.1667-1740). Arranged by Brian Harris. Christian,Classical,Historic,Instructional,Sa...
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Concert Band - Level 2 - SKU: A0.859753 Composed by Antonio Lotti (c.1667-1740). Arranged by Brian Harris. Christian,Classical,Historic,Instructional,Sacred. 38 pages. Bandroom.com Publications #3134913. Published by Bandroom.com Publications (A0.859753). _______________________Choral work by Antonio Lotti (c.1667-1740); transcribed for band by Brian HarrisThe Kyrie is part of the Ordinary of the Roman Catholic Mass. This musical setting of the Kyrie was written for choir by Italian composer Antonio Lotti, who spent his entire career at the famous St. Mark's Basilica in Venice.The adaptation of choir literature for use by wind players provides an ideal tool for teaching basic musicianship such as intonation, balance, and blend as well as the advanced techniques of phrasing, nuance of line, and accuracy of ensemble articulation. Because the work consists of only 4 voices, players can more readily hear and address individual, section, and ensemble problems.The score and each part is notated with the specific voice assignment (S = soprano, A = alto, T = tenor, B = bass). This allows the conductor to rehearse like groups by simply asking for all players with the alto line and so forth. Knowing that another instrument is playing the exact same line can encourage them to listen across the band in order to match style/balance with the other players.You may view the entire score as well as additional part samples and detailed information for this work at my site www.bandroom.com - - - - - - - - - - - - - - -ARRANGER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director at the public school and college level for over 30 years. His works are available from www.bandroom.com and as digital downloads.__________________________________
$30.00 ≈
28.00€
CONCERT TUNER IN B-FLAT (young concert band warm up; very easy; score, parts & license)
CONCERT TUNER IN B-FLAT (young concert band warm up; very easy; score, parts & license)
#
Concert band
#
BEGINNER
#
Instructional
#
Bandroom
#
CONCERT TUNER IN B-FLAT
#
Bandroom.com Publications
#
SheetMusicPlus
Concert Band - Level 1 - SKU: A0.859739 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #2988...
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Concert Band - Level 1 - SKU: A0.859739 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #2988817. Published by Bandroom.com Publications (A0.859739). _______________________This piece is an ideal introduction for purchasing music as a digital download. For only $8, you get an entire band arrangement (Score and Parts). Written expressly for use on-stage before contest or a concert, CONCERT TUNER IN B-FLAT will help your band tune, adjust balance, and focus on the upcoming performance. Easier to transport than a full set of chorale books, this simple arrangement is ideal for helping players get accustomed to the feel and acoustics of the stage. Included are step-by-step suggestions of how your band can benefit from every phrase. To view sample parts, visit www.bandroom.com where you will find detailed information regarding ranges, keys, instrumentation, and more. AVAILABLE:Concert Tuner in B-flat (use on stage when your first selection is in the key of B-flat or g minor, etc.)Concert Tuner in E-flat (use on stage when your first selection is in the key of E-flat or c minor, etc.)Concert Tuner in F (use on stage when your first selection is in the key of F or d minor, etc.) This download includes the 4 page SCORE and 22 pages of PARTS, plus a SITE-LICENSE permitting the purchasing school to print as many scores and parts as needed. Never lose a part again!- - - - - - - - - - - - - -COMPOSER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director for over 30 years. Many of his arrangements and compositions are available here as digital downloads and from www.bandroom.com. ____________________________.
$8.00 ≈
7.47€
CONCERT TUNER IN F (young concert band warm up; very easy; score & parts & license)
CONCERT TUNER IN F (young concert band warm up; very easy; score & parts & license)
#
Concert band
#
BEGINNER
#
Instructional
#
Bandroom
#
CONCERT TUNER IN F
#
Bandroom.com Publications
#
SheetMusicPlus
Concert Band - Level 1 - SKU: A0.859748 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #3134...
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Concert Band - Level 1 - SKU: A0.859748 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #3134291. Published by Bandroom.com Publications (A0.859748). ______________________ This piece is an ideal introduction for purchasing music as a digital download. For only $8, you get an entire band arrangement (Score and Parts). Written expressly for use on-stage before contest or a concert, CONCERT TUNER IN F will help your band tune, adjust balance, and focus on the upcoming performance. Easier to transport than a full set of chorale books, this simple arrangement is ideal for helping players get accustomed to the feel and acoustics of the stage. Included are step-by-step suggestions of how your band can benefit from every phrase. To view additional sample parts, visit www.bandroom.com where you will find detailed information regarding ranges, keys, instrumentation, and more. This download includes the SCORE and all PARTS, plus a SITE-LICENSE permitting the purchasing school to photocopy as many SCORES and PARTS as needed. Never lose a score or part again! ALSO AVAILABLE: Concert Tuner in B-flat (use on stage when your first selection is in the key of B-flat or g minor, etc.) Concert Tuner in E-flat (use on stage when your first selection is in the key of E-flat or c minor, etc.) Concert Tuner in F (use on stage when your first selection is in the key of F or d minor, etc.) ____________________________ COMPOSER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director for over 30 years. Many of his arrangements and compositions are available here as digital downloads and from www.bandroom.com ____________________________
$8.00 ≈
7.47€
Rhapsody for Concert Band
Rhapsody for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Classical
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00 ≈
18.67€
Macht hoch, die Tür / Tocher Zion - 2 German Christmas Chorals - Concert Band
Macht hoch, die Tür / Tocher Zion - 2 German Christmas Chorals - Concert Band
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Concert band
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Christmas
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G
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Thomas Graf
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Macht hoch, die Tür / Toche
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - SKU: A0.498780 Composed by G.F. Haendel. Arranged by Thomas Graf. Christmas. Score and parts. 39 pages. Published by Thomas Graf - the-hi...
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Concert Band - SKU: A0.498780 Composed by G.F. Haendel. Arranged by Thomas Graf. Christmas. Score and parts. 39 pages. Published by Thomas Graf - the-hit-factory.com (A0.498780). 2 famous German Christmas Chorals. This is the perfect arrangement for your upcoming concerts in the holiday season. Instrumentation: Flute 1 Flute 2/Oboe Bassoon Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Bass Clarinet in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet/Flh. 1 in Bb Trumpet/Flh 2 in Bb Trumpet/Flh 3 in Bb Horn in F Baritone Trombone 1 Trombone 2 Trombone 3 Tuba Keyboards Bass Drum Set Glockenspiel Bass in Eb Bass in Bb Baritone Horn in Bb Important note: All our Big Band and Concert Band arrangements are played and prooved with our own ensembles with great success. Please let us know if you need any transposed part. Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 - E-Mail: info@the-hit-factory.com. - www.the-hit-factory.com - facebook: https://www.facebook.com/hitfactorymusic.
$20.00 ≈
18.67€
New Horizons March for concert band
New Horizons March for concert band
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Concert band
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INTERMEDIATE
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Contemporary
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Music by Jack Hossfeld and Jud
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New Horizons March for concert
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Judson Goodrich
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.890058 Composed by Music by Jack Hossfeld and Jud Goodrich, Lyrics by Tom Hitchcock. Contemporary. Score. 1...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.890058 Composed by Music by Jack Hossfeld and Jud Goodrich, Lyrics by Tom Hitchcock. Contemporary. Score. 1 pages. Judson Goodrich #26007. Published by Judson Goodrich (A0.890058). The New Horizons March was first performed at the New Horizons Band Camp in Chautauqua, N. Y., in 2004 under the direction of Dr. Roy Ernst, founder of the New Horizons International Music Association. The NHIMA now has over 180 concert bands, orchestras, and choral groups with 8,000 participants in 5 countries. Dr. Ernst has conducted the march at many New Horizons music camps.The first theme of the march is a vocal section which can be personalized by inserting the name of the local band in place of New Horizons Band. It has an alternate vocal score for non-New Horizons Bands which is a tribute to the New Horizons satellite. Dr. Ernst has provided the following suggestions for the Conductors:
$49.00 ≈
45.73€
8 Chorales For Concert Band
8 Chorales For Concert Band
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Concert band
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INTERMEDIATE
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Wesley Besancon
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Wesley Besancon
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8 Chorales For Concert Band
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1165646 By Wesley Besancon. By Various. Arranged by Wesley Besancon. 19th Century,20th Century,Religious,Sacred. Score ...
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Concert Band - Level 3 - SKU: A0.1165646 By Wesley Besancon. By Various. Arranged by Wesley Besancon. 19th Century,20th Century,Religious,Sacred. Score and Parts. 82 pages. Wesley Besancon #766004. Published by Wesley Besancon (A0.1165646). The one thing I see every band do is chorales, and alot of the time, they are not grasping the top 4 concepts:1. Different Styles2. Different Keys (especially sharp keys)3. Different Times4. Different DynamicsAnd with this useful chorale book, you grasp different styles (Legato, Cantible, Atonal, Traditional), different keys (Bb, D, Ab, Eb), different times (4/4, 3/4), and rapid dynamic changes. The Chorales Used: Crusader's Hymn (von Fallersleben)All Glory, Laud, and Honor (Neale)Salvation (Besancon)America the Beautiful (Sainte-Marie)Simple Gifts (Brackett)Oh Thy Lord Jesus, May We Praise You! (Besancon)Practicing Atonality (Besancon)Une Chorale Deddie A Besancon, France (Besancon).
$14.99 ≈
13.99€
Folk Song Chorales - for Concert Band
Folk Song Chorales - for Concert Band
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Concert band
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EASY
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Traditional / Various
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John McAllister
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Folk Song Chorales - for Conce
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John McAllister
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.778223 Composed by Traditional / Various. Arranged by John McAllister. Folk,Instructional,Traditional. Score and parts....
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Concert Band - Level 2 - SKU: A0.778223 Composed by Traditional / Various. Arranged by John McAllister. Folk,Instructional,Traditional. Score and parts. 22 pages. John McAllister #6530985. Published by John McAllister (A0.778223). This music is a set of warm-up chorales for concert band, offering variety when warming up one's band. Bach is the standard when it comes to chorales, and folk song chorales can add a new melodies and harmonies to the fundamentals taught during warm-up. In arranging these chorales, harmonies more idiomatic to the modern day concert band scoring are used, especially at the Grade II/III level. The folk songs included are Loch Lomond, The Parting Glass, Slumber My Darling, and Scarborough Fair.
$30.00 ≈
28.00€
Warmup Chorales for Beginning Concert Band
Warmup Chorales for Beginning Concert Band
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Concert band
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BEGINNER
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Classical
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Michael Drennan
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Warmup Chorales for Beginning
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Drennan Music Publications
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1313867 Composed by Michael Drennan. Classical. 48 pages. Drennan Music Publications #902589. Published by Drennan Musi...
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Concert Band - Level 1 - SKU: A0.1313867 Composed by Michael Drennan. Classical. 48 pages. Drennan Music Publications #902589. Published by Drennan Music Publications (A0.1313867). These chorales are basic chord progression pieces that I wrote to help my Concert Band develop a solid, warm Concert Band sound. They start in Concert B♭ and progress in difficulty until the 20th Chorale, which is the first phrase Ermuntre dich, mein schwacher Geist by Johann Sebastian Bach. This file includes both a Full Score as well as a Piano Score.
$40.00 ≈
37.33€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - full score
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - full score
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.533052 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and pa...
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Concert Band - Level 4 - SKU: A0.533052 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 17 pages. Musik Fabrik Music Publishing #432815. Published by Musik Fabrik Music Publishing (A0.533052). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie” and a dedication “à L'Harmonie Municipale de Lyon”. The pages which followed contained the score of “Choral” for organ with optional brass and “Fugue” for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the full score. The woodwind parts and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.
$19.95 ≈
18.62€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - complete set of
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - complete set of
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.533051 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and pa...
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Concert Band - Level 4 - SKU: A0.533051 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 72 pages. Musik Fabrik Music Publishing #432813. Published by Musik Fabrik Music Publishing (A0.533051). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie” and a dedication “à L'Harmonie Municipale de Lyon”. The pages which followed contained the score of “Choral” for organ with optional brass and “Fugue” for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete brass and percussion parts. The full score and the woodwind parts are available in two seperate sets. The individual parts are also available as separate items.
$65.00 ≈
60.67€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - complete set of
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - complete set of
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.533050 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and pa...
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Concert Band - Level 4 - SKU: A0.533050 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 84 pages. Musik Fabrik Music Publishing #432811. Published by Musik Fabrik Music Publishing (A0.533050). In the late 1990s, a score was found in Germaine Tailleferre’s papers with the title page “Choral et Fugue pour orchestre d’harmonie” and a dedication “à L'Harmonie Municipale de Lyon”. The pages which followed contained the score of “Choral” for organ with optional brass and “Fugue” for orchestra. When the late composer Desiré Dondeyne was consulted concerning this score, he confirmed that this work had been projected, but refused to say anything further on the subject. Research was undertaken to try to locate a scale in the municipal archives of the City of Lyons (as the Municipal Band no longer exists) but proved to be unsucessful. It is unclear whether or not Tailleferre intended to undertake this work herself or if she intended to entrust it (as she often did) to Dondeyne. In any case, it would appear that the concert band version for this work was probably never completed. Paul Wehage, a longtime scholar of the works of Tailleferre, has undertaken the orchestration of this work The Fugue movement remains close to Tailleferre’s original version for orchestra. The choral section is entirely rescored. Instrumentation : Piccolo Flute I and II Oboe I and II English Horn Bassoon 1 and II Eb clarinet Bb clarinet I, II and III Alto Clarinet Bass Clarinet Alto Saxophone I and II Tenor Saxophone Baritone Saxophone Bb Cornet I, II and III Bb trumpet I and II F Horn I-IV Trombone I, II and III Baritone Tuba Timpani Percussion 1: snare drum Percussion II: bass drum Percussion III: triangle, two cymbals, xylophone, suspended cymbal duration ca. 7:00 This set contains the complete woodwind parts. The full score and the brass and percussion parts are available in two seperate sets. The individual parts are also available as separate items.
$65.00 ≈
60.67€
Warm-up for Concert Band in Eb - Bach Chorale Arrangement - O Sacred Head
Warm-up for Concert Band in Eb - Bach Chorale Arrangement - O Sacred Head
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Concert band
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EASY
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Paul Gerhardt
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Sarah Wilson
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Warm-up for Concert Band in Eb
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Sarah Ruth Wilson
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.997120 Composed by Paul Gerhardt. Arranged by Sarah Wilson. Classical,Instructional,Sacred. Score and Parts. 22 pages. ...
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Concert Band - Level 2 - SKU: A0.997120 Composed by Paul Gerhardt. Arranged by Sarah Wilson. Classical,Instructional,Sacred. Score and Parts. 22 pages. Sarah Ruth Wilson #5311097. Published by Sarah Ruth Wilson (A0.997120). This is a beautiful chorale arranged for concert band. It can be used for technical purposes (warming up/tuning, for example) or for a performance piece showcasing tone and sensitivity. It can be used art the beginning of every rehearsal, and performers can even sing their parts as an additional exercise. It is a sacred piece of music, but is completely appropriate for students and schools. I use it with my own concert bands. It would be appropriate in religious settings as well. The accompanying mp3 track can be used a a reference for learning the piece. It is brief, lasting about 1.25 minutes.
$5.00 ≈
4.67€
How Lovely Is Thy Dwelling Place Transcribed for Concert Band
How Lovely Is Thy Dwelling Place Transcribed for Concert Band
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Concert band
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INTERMEDIATE
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Classical
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Johannes Brahms
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Bud Caputo
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How Lovely Is Thy Dwelling Pla
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Bud Caputo
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.826701 Composed by Johannes Brahms. Arranged by Bud Caputo. Christian,Concert,Easter,Standards. Score and parts. 51 pag...
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Concert Band - Level 3 - SKU: A0.826701 Composed by Johannes Brahms. Arranged by Bud Caputo. Christian,Concert,Easter,Standards. Score and parts. 51 pages. Bud Caputo #5031099. Published by Bud Caputo (A0.826701). This is the most famous excerpt from the Brahms's Requiem sung at Easter and a favorite in the concert choral repertoire. Ranges for all instruments are in the intermediate category but students will be challenged to provide the lyrical quality found in choral voices and the develop appropriate phrasing that is in keeping with the choral tradition. .
$28.00 ≈
26.13€
The Djebels for Concert Band
The Djebels for Concert Band
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Concert band
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INTERMEDIATE
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Ian Vlemmiks
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The Djebels for Concert Band
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Forton Music - Digital
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SheetMusicPlus
Concert Band - Intermediate - SKU: F2.FM271 Composed by Ian Vlemmiks. Score and Parts. 39 pages. Forton Music - Digital #FM271. Published by Forton Musi...
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Concert Band - Intermediate - SKU: F2.FM271 Composed by Ian Vlemmiks. Score and Parts. 39 pages. Forton Music - Digital #FM271. Published by Forton Music - Digital (F2.FM271). ISBN 9790570481705.Concert Band - Piccolo/2 Flutes, 2 Oboes, 3 Clarinets in Bb, 2 Bassoons, 2 Alto Saxophones, Tenor Saxophone, Baritone Saxophone, 3 Trumpets in Bb, 4 horns in F, 2 Trombones, Bass Trombone, Euphonium/Baritone, Tuba, Side Drum, Bass Drum. A rousing opening section with impressive countermelodies lead to a middle section in the relative major. Here, the tune is put into the bass parts with some interjections from the upper parts. The final section is a stately chorale reminiscent of Elgar at his finest! Straightforward phrasing and relatively straightforward parts make this accessible to the majority of bands.
$37.95 ≈
35.42€
How Brightly Shines the Morning Star - concert band
How Brightly Shines the Morning Star - concert band
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Concert band
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EASY
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Christmas
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Philipp Nicolai
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Todd Marchand
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How Brightly Shines the Mornin
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Con Spirito Music
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.726125 Composed by Philipp Nicolai. Arranged by Todd Marchand. Christmas,Holiday,Sacred. Score and parts. 30 pages. Con...
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Concert Band - Level 2 - SKU: A0.726125 Composed by Philipp Nicolai. Arranged by Todd Marchand. Christmas,Holiday,Sacred. Score and parts. 30 pages. Con Spirito Music #6473895. Published by Con Spirito Music (A0.726125). How Brightly Shines the Morning Star is one of Philipp Nicolai's (1556-1608) two most famous chorales, the other being Sleepers, Wake! Together, the two have been called The King and Queen of Chorales.Both tunes were used several times in works by J.S. Bach, and in this arrangement, both Bach’s harmonization and original harmonies are employed, as well as original material for the introduction, interlude/modulation, and ending.©Copyright 2021 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$45.00 ≈
42.00€
Germaine Tailleferre : Choral et Fugue, arranged for concert band by Paul Wehage - alto saxophone 2
Germaine Tailleferre : Choral et Fugue, - concert band by Paul Wehage - alto saxophone 2
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Concert band
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INTERMEDIATE/ADVANCED
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Germaine Tailleferre
#
Paul Wehage
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.533029 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and pa...
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Concert Band - Level 4 - SKU: A0.533029 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Contemporary,Instructional. Score and parts. 5 pages. Musik Fabrik Music Publishing #432421. Published by Musik Fabrik Music Publishing (A0.533029). The second alto saxophone part for the arrangement for concert band of this work by Germaine Tailleferre.
$3.99 ≈
3.72€
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Concert band, Choral
