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Vous avez sélectionné:
Con Spirito Music
Trombone et Piano
Partitions à imprimer
7 partitions trouvées
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1
Beach Spring — trombone, piano, opt. flute
Beach Spring — trombone, piano, opt. flute
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Trombone et Piano
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INTERMÉDIAIRE
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B
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Todd Marchand
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next by flute and piano
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Beach Spring — trombone,
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Con Spirito Music
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SheetMusicPlus
Piano,Trombone - Level 3 - SKU: A0.1089531 Composed by B.F. White. Arranged by Todd Marchand. Folk,Sacred,Traditional. Score and part. 7 pages. Con Spir...
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Piano,Trombone - Level 3 - SKU: A0.1089531 Composed by B.F. White. Arranged by Todd Marchand. Folk,Sacred,Traditional. Score and part. 7 pages. Con Spirito Music #693741. Published by Con Spirito Music (A0.1089531). BEACH SPRING is a hymn tune attributed to Benjamin Franklin White (1800-1879), co-editor of The Sacred Harp shape-note hymnal, where the tune was published in 1844. Paired there with a text beginning Come, ye sinners, poor and needy, it has served as accompaniment for various other hymn texts since.Although attributed to White, the pentatonic tune (comprising five notes — degrees 1, 2, 3, 5, and 6 of the major scale) is likely of folk origin. In this arrangement, the tune is presented three times: first by trombone with piano accompaniment; next by flute and piano; and after a modulation up one step, by trombone and piano in a new harmonization with descending chromatic bass line.An ideal choice for offertory or communion solo, BEACH SPRING may be performed by trombone and piano alone, as the flute melody in the second verse is present in the piano as well.©Copyright 2020 Todd Marchand / Con Spirito Music. Visit www.conspiritomusic.com
$6.00 ≈
$8.19
Humbly I Adore Thee (ADORO TE DEVOTE) — trombone and piano or organ
Humbly I Adore Thee (ADORO TE DEVOTE) — trombone and piano or organ
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Trombone et Piano
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INTERMÉDIAIRE
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Traditional plainchant melody
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Todd Marchand
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Humbly I Adore Thee
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Con Spirito Music
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SheetMusicPlus
Piano,Trombone - Level 3 - SKU: A0.1098129 Composed by Traditional plainchant melody. Arranged by Todd Marchand. Medieval,Religious,Sacred. Score and pa...
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Piano,Trombone - Level 3 - SKU: A0.1098129 Composed by Traditional plainchant melody. Arranged by Todd Marchand. Medieval,Religious,Sacred. Score and part. 7 pages. Con Spirito Music #702001. Published by Con Spirito Music (A0.1098129). “Humbly I Adore Thee†is a eucharistic, or communion, hymn with text by St. Thomas Aquinas (1225-1274).The origin of the melody, “Adoro te Devote,†is unclear. In some places it is simply described as a Gregorian chant; in others as a 13th-century Benedictine plainsong; in others as a French church melody published in the Paris Processionale (hymnal or liturgical manual) of 1697. Regardless, it is a lovely, flowing tune well-suited for the legato “singing†capabilities of the trombone, euphonium, or cello.In this arrangement, the soloist plays the tune through on the first verse in D major, adds a descant over the melody played by keyboard in the second verse and, following a short modulation, recapitulates the tune in the concluding key of G major.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$6.00 ≈
$8.19
O Holy Night - trombone duet with piano
O Holy Night - trombone duet with piano
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Trombone et Piano
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INTERMÉDIAIRE
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Noël
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Adolphe-Charles Adam
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Todd Marchand
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O Holy Night - trombone duet w
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Con Spirito Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.726114 Composed by Adolphe-Charles Adam. Arranged by Todd Marchand. Christm...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.726114 Composed by Adolphe-Charles Adam. Arranged by Todd Marchand. Christmas,Sacred. Score and parts. 16 pages. Con Spirito Music #6195649. Published by Con Spirito Music (A0.726114). The beloved “O Holy Night†began as a poem in French on the nativity of Jesus.Placide Cappeau (1808–1877), the author of the original lyrics, was asked in 1843 to write a Christmas poem to celebrate the recent renovation of the church organ in his home town. He obliged with “Minuit, chrétiens,†which begins with the words “Midnight, Christians, this is the solemn hour of God descending to us as man.â€The music to Cappeau's poem was written by the French composer, organist, and music critic Adolphe Adam (1803-1856) and published in 1847 under the title “Cantique de Noël.â€In 1855, John Sullivan Dwight (1813-1893), recognized as America's first influential music journalist and critic, translated and paraphrased Cappeau's text into the well-known “O Holy Night.â€This arrangement features the natural singing style of two trombones in a duet with piano accompaniment. Includes both bass clef and Bb treble clef trombone parts; may be effectively performed by euphoniums or cellos as well.Copyright 2012 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$6.00 ≈
$8.19
Meditation on "Veni, Emmanuel" — trombone and piano or organ
Meditation on "Veni, Emmanuel" — trombone and piano or organ
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Trombone et Piano
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INTERMÉDIAIRE
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Plainchant melody
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Todd Marchand
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Meditation on "Veni, Emma
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Con Spirito Music
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SheetMusicPlus
Piano,Trombone - Level 3 - SKU: A0.726102 Composed by Plainchant melody. Arranged by Todd Marchand. Advent,Christian,Sacred. Score and part. 10 pages. C...
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Piano,Trombone - Level 3 - SKU: A0.726102 Composed by Plainchant melody. Arranged by Todd Marchand. Advent,Christian,Sacred. Score and part. 10 pages. Con Spirito Music #6092177. Published by Con Spirito Music (A0.726102). “O Come, O Come Emmanuel†are the opening words of John Mason Neale’s (1818-1866) translation of the Medieval text, “Veni, Emmanuel,†with music arranged by Thomas Helmore (1811-1890), for The Hymnal Noted (London, 1856). The text of this most famous of Advent hymns is taken from various “‘O’ Antiphons,†verses sung or recited before and after the Magnificat during the evening Vespers service in the last week of Advent. Each antiphon is a name of Christ, and together they echo the foretelling of the long-expected Messiah by the prophet Isaiah.The origin of the music is uncertain. Some claim it to be from a 15th-century French processionale (hymnal, liturgical manual) for Franciscan nuns; others believe it to be of earlier, eighth-century Gregorian plainsong origins.This arrangement features both traditional and contemporary harmonies and a meditative original introduction prior to the opening presentation of the melody by trombone, which is echoed in countermelodies in later presentations.Includes both bass clef and Bb treble clef solo parts.©Copyright 2020 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
$6.00 ≈
$8.19
Let All Mortal Flesh Keep Silence - trombone and piano
Let All Mortal Flesh Keep Silence - trombone and piano
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Trombone et Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Traditional French Carol
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Todd Marchand
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Let All Mortal Flesh Keep Sile
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Con Spirito Music
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SheetMusicPlus
Piano,Trombone - Level 3 - SKU: A0.726086 Composed by Traditional French Carol. Arranged by Todd Marchand. Christian,Sacred. Score and part. 8 pages. Co...
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Piano,Trombone - Level 3 - SKU: A0.726086 Composed by Traditional French Carol. Arranged by Todd Marchand. Christian,Sacred. Score and part. 8 pages. Con Spirito Music #4775413. Published by Con Spirito Music (A0.726086). Let All Mortal Flesh Keep Silence is a eucharistic hymn translated from the fifth-century Liturgy of St. James and set to a 17th-century French carol.In this particular liturgy (attributed to St. James the Less, first bishop of Jerusalem), a hymn of preparation and adoration is sung by the celebrating priest as the communion bread and wine is brought to the altar of the Lord. The Anglican priest and hymnodist Gerard Moultrie (1829-1885) translated and paraphrased the hymn, whose opening words are based on the words of the prophets Habakkuk (But the Lord is in his holy temple; let all the earth keep silence before him. 2:20) and Zechariah (Be silent, all flesh, before the Lord, for he has roused himself from his holy dwelling. 2:13).Ralph Vaughan Williams, editor of the English Hymnal of 1906, adapted a French carol dating from the 17th century and published in Chansons Populaires des Provinces de France (1860) for Moultrie's text, naming the hymn tune PICARDY for the region of France from which it is thought to originate.Contemporary, jazz-flavored harmonies characterize this arrangement for trombone and piano.©2019 Todd Marchand / ConSpiritoMusic.com
$6.00 ≈
$8.19
Saw Ye My Savior? — trombone (or euphonium, cello) and piano
Saw Ye My Savior? — trombone (or euphonium, cello) and piano
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Trombone et Piano
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INTERMÉDIAIRE
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American folk hymn tune
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Todd Marchand
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Saw Ye My Savior? — trom
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Con Spirito Music
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SheetMusicPlus
Piano,Tenor Trombone - Level 3 - SKU: A0.1204336 Composed by American folk hymn tune. Arranged by Todd Marchand. Christian,Easter,Folk,Lent,Traditional....
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Piano,Tenor Trombone - Level 3 - SKU: A0.1204336 Composed by American folk hymn tune. Arranged by Todd Marchand. Christian,Easter,Folk,Lent,Traditional. Score and part. 8 pages. Con Spirito Music #802815. Published by Con Spirito Music (A0.1204336). Here's a lovely, lyrical tune that's ideal for use during Holy Week or as a meditative prelude, offertory, or communion selection for trombone (or euphonium, cello) and piano.Saw Ye My Savior? is an early 19th-century American folk hymn with a tune that predates it by perhaps 100 years or more. Both the text and the tune seem to have been freely adapted to the subject of the song (whether secular or sacred) and the singer, which is typical of folk songs and folk hymns handed down from one generation to the next. For example, the text of the hymn, which begins Saw ye my Savior, saw ye my Savior, saw ye my savior and my God? is similar to that of an English folk song, Saw you my father, saw you my mother, saw you my true love John?In the 1858 edition of William Walker's shape-note hymnal, The Southern Harmony, and Musical Companion, the source cited for the text and tune is Baptist Harmony (1834), p. 477. However, William Hauser and Benjamin Turner's collection, The Olive Leaf (1878), refers to the tune as a Scotch air; and certainly, the Scotch snap rhythm in measures 3 and 4 of the tune lend credence to that. The website, hymnary.org, cites Saw Ye My Savior? as having been published in 167 hymnals (all prior to 1979 but one). Two similar tunes, CRUCIFIXION (Southern Harmony) and ATONEMENT are associated with the text. Because the subject of the text is Christ's crucifixion (see representative text here), Saw Ye My Savior? has often been used as a choral anthem in Palm Sunday, Good Friday, and Holy Saturday worship services. This arrangement of the lovely, flowing tune for trombone (or euphonium, cello) and piano is ideal at any time as a meditative prelude to worship, or as an offertory or communion selection. ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved.
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London Town Fantasy for Trombone and Piano
London Town Fantasy for Trombone and Piano
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Trombone et Piano
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AVANCÉ
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Contemporain
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Antonio J
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London Town Fantasy for Trombo
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Cherry Classics Music
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SheetMusicPlus
Piano Accompaniment, Trombone - Advanced - Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. P...
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Piano Accompaniment, Trombone - Advanced - Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. Published by Cherry Classics Music
Virginia Commonwealth University Professor Antonio J. Garca has taken Haydn?s ?London? Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would ?showcase the trombone in a jazz ballad style and somehow reference the Haydn ?London? Symphony? that would follow it on the program, knowing that the first half of the concert would also include the Brahms ?Variations on a Theme of Joseph Haydn.? She and trombone soloist Nathan Dishman suggested the title ?London Town Fantasy,? envisioning a potential intersection with elements of George Gershwin?s ?A Foggy Day (In London Town),? which seemed apt given a scheduled trip of Garca?s to London during the compositional process.
Listeners familiar with Haydn's ?London? Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony?s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the ?bridge? section of the tune is crafted from the first seven measures of the opening theme of Haydn?s first movement (Allegro).
The use of ?A Foggy Day? had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin?s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of ?A Foggy Day.? (An optional written-out solo is provided.)
Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).
The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or ?minus one,? make rehearsals easy and even provide the aural basis for your own potential ?virtual? performance.
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