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Vous avez sélectionné:
Give It All Up
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Partitions à imprimer
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Fanfare and Allegro for Brass Quintet
Fanfare and Allegro for Brass Quintet
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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Zack Richards
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Fanfare and Allegro for Brass
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Zack Richards
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.894386 Composed by Zack Richards. 20th Century,Concert,Contemporary,Easter. Score and part...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.894386 Composed by Zack Richards. 20th Century,Concert,Contemporary,Easter. Score and parts. 34 pages. Zack Richards #5197213. Published by Zack Richards (A0.894386). During my undergraduate career at The University of Akron, like many college students, I went through a year of trying to discover what I really wanted to do. In my sophomore year, I dropped from Music Education, and picked up a double major in Trumpet Performance and Composition with a minor in Jazz Studies. After 2 semesters of taking nearly 30 credit hours and a need to change my embouchure, I decided to focus on trumpet and come back to composition later. After finishing my BM in Trumpet Performance, I decided to go for a MM in Composition. This piece was one that I wrote for entry into the graduate program. To this day, it is still one of my favorite compositions! It's a lot of fun, very difficult and taxing, but also very musically interesting. It melds together several interesting melodic lines and motifs, and each player gets a chance to shine. There are also a lot of great ensemble moments where lines get passed through the entire quintet and turn it into one instrument. It's a piece for advanced players for sure, but a great feature for any group willing to give it a go!Brass QuintetAdvancedApprox. 6:30Visit zackrichards.com for more from this composer!
$17.99 ≈
$24.63
Nimrod for Brass Quintet
Nimrod for Brass Quintet
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Classique
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Edward Elgar
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James Symington
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Nimrod for Brass Quintet
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James Edward Ernest Symington
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1038764 Composed by Edward Elgar. Arranged by James Symington. 20th Century,Classical,Film...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1038764 Composed by Edward Elgar. Arranged by James Symington. 20th Century,Classical,Film/TV,Patriotic,Romantic Period. Score and parts. 9 pages. James Edward Ernest Symington #643742. Published by James Edward Ernest Symington (A0.1038764). The name of the variation refers to Augustus J. Jaeger, who was employed as music editor by the London publisher Novello & Co. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. Nimrod is described in the Old Testament as a mighty hunter before the Lord, Jäger being German for hunter. In 1904 Elgar told Dora Penny (Dorabella) that this variation is not really a portrait, but the story of something that happened. Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. And that is what you must do, Jaeger said, and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 Pathétique. Elgar disclosed to Dora that the opening bars of Nimrod were made to suggest that theme. Can't you hear it at the beginning? Only a hint, not a quotation. This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph, Whitehall in London at the National Service of Remembrance. A version was also played during the Hong Kong handover ceremony in 1997 and at the opening ceremony of the London 2012 Olympic Games. The “Nimrod†variation was the final orchestral composition (before the national anthem) played by the Greek National Orchestra in a televised June 2013 concert, before the 75-year-old Athenian ensemble was dissolved in the wake of severe government cutbacks. An adaptation of the piece appears at the ending of the 2017 film Dunkirk in the score by Hans Zimmer. This arrangement for Brass Quintet has been adapted to suit the instrumentalists. The key has changed and this makes it much more playable and more secure.
$12.99 ≈
$17.78
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 ≈
$38.33
Sinfonia 10, J. S. Bach, adapted for C trumpet, Trombone, and Tuba
Sinfonia 10, J. S. Bach, adapted for C trumpet, Trombone, and Tuba
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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J
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Rudy Volkmann
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Sinfonia 10, J. S. Bach, adapt
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Rudy Volkmann
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1005663 Composed by J. S. Bach (1685-1750). Arranged by Rudy Volkmann. Concert. Score and parts...
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Brass Ensemble Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1005663 Composed by J. S. Bach (1685-1750). Arranged by Rudy Volkmann. Concert. Score and parts. 5 pages. Rudy Volkmann #6384137. Published by Rudy Volkmann (A0.1005663). This is one of my favorites. I chose adapted, rather than arranged because in order to make it playable I had to leave out a few notes (carefully chosen) in order to give the brass players a spot or two to breathe. For the real 'horses, the written arrangement leaves these in with the breaths notes in parenthesis; the mp3 audio file leaves them out. The Sinfonia (three-part inventions) of J. S. Bach were written as keyboard teaching pieces for his children. As such, most pianists whir through them at often blistering tempi, often obscuring the wonderful music contained therein. This adaptation suggests a much more moderate tempo, and allows the timbre of the three instruments to differentiate the three voices and the wonderful counterpoint which makes up the piece. This is a great recital piece or concert opener.
$3.00 ≈
$4.11
Breeze And I
Breeze And I
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Al Stillman and Ernesto Lecuon
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F
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Breeze And I
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1164066 Composed by Al Stillman and Ernesto Lecuona. Arranged by F. Leslie Smith. Multicul...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1164066 Composed by Al Stillman and Ernesto Lecuona. Arranged by F. Leslie Smith. Multicultural,Pop,Standards,World. Score and parts. 37 pages. Sweetwater Brass Press #764401. Published by Sweetwater Brass Press (A0.1164066). Ernesto Lecuona was born 1895 in Cuba.  He began piano lessons at 5 years of age and developed into a virtuoso pianist and internationally celebrated composer.  In 1928 he composed Suite AndalucÃa, a six-movement piano piece portraying the people and places of the Andalusia region of southern Spain.  Two of those pieces eventually achieved tremendous popularity as standalone songs:  #2, “Andalucia†and #6, “Malagueña.† Lecuona had composed both in ¾ time.  Salvador Tutti Camarata reframed “Andalucia†in 4/4, Al Stillman provided English lyrics and the song was given a new title, “The Breeze and I.† Jimmy Dorsey’s big band recorded it in 1940 with the vocal by Bob Eberly.  It was hugely popular, lasting nine weeks on the Billboard magazine chart and peaking at #2.  Fifteen years later, Caterina Valente recorded both “The Breeze and I†and “Malagueña†to great success.    This arrangement opens in A-flat major with Trumpets, Horn and Tuba laying down a Latin beat and the Trombone playing an opening lick.  After the introduction, Trombone and Trumpets take turns with the melody, while Horn and Tuba provide variety and accents.  On the second time through, the key changes to E-flat major and begins with a Trumpets-and-lower-brass fanfare.  The melody repeats, but this time with a different take.  Horn and Trombone take turns with melody and counter melody, then Trumpets take over.  After several cascade effects, the tune reaches its end and Trumpets play an extended version of Trombone’s lick from the introduction.  The group then repeats the final 16 bars of the tune and winds up with an extended ending treatment.  Trombone once again contributes its opening lick, and the arrangement fades away . . . all to a Latin beat.  Enjoy!    Time signature is 2/2 and suggested tempo is 72 BPM, which is maintained all the way through.  There are two instances of a one-bar change to 3/2.  The fanfare at Section C contains a measure and a half of 16th notes.  All notes are well within the normal playing range of the five instruments.    Completed in 2023, performance time runs about 3 minutes, 30 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).
$12.99 ≈
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