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Vous avez sélectionné:
Southwestern Brass
Partitions à imprimer
8 partitions trouvées
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Gabriel's Message (The Angel Gabriel to Heaven Came) - brass quintet, hand percussion
Gabriel's Message (The Angel Gabriel to Heaven Came) - brass quintet, hand percussion
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Traditional Basque Carol
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Todd Marchand
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Gabriel's Message
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Con Spirito Music
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.726091 Composed by Traditional Basque Carol. Arranged by Todd Marchand. Christmas,Holiday,...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.726091 Composed by Traditional Basque Carol. Arranged by Todd Marchand. Christmas,Holiday,Sacred,Traditional. Score and parts. 18 pages. Con Spirito Music #4798963. Published by Con Spirito Music (A0.726091). Gabriel's Message (The Angel Gabriel to Heaven Came) is a folk carol from the Basque Country, the region that straddles the westernmost Pyrenees Mountains in adjacent parts of northern Spain and southwestern France. A vernacular paraphrase of the 13th/14th-century Latin carol, Angelus ad virginem, the text was translated from Basque and paraphrased into English by the Anglican priest and scholar Sabine Baring-Gould (1834-1924). Commonly sung at Advent and Christmas, Gabriel's Message quotes the biblical account of the Annunciation (Luke 1:26-38) and the Magnificat (Luke 1:46-55) in its opening lines:The angel Gabriel from heaven came,his wings as drifted snow, his eyes as flame;All hail, said he, thou lowly maiden Mary,most highly favoured lady. Gloria!The Basque tune was collected and published by the French composer Charles Bordes (1863-1909) in Archives de la tradition basque (1890) and was arranged and published by the English organist/choirmaster Edgar Pettman (1866-1943) in his 1892 collection, Modern Christmas Carols. Pettman's setting remains a favorite among choirs to this day. This arrangement features each of the voices of the brass quintet on the tune and augments the ensemble with optional finger cymbals and tambourine. ©Copyright 2019 Todd Marchand / ConSpiritoMusic. Visit www.conspiritomusic.com
$15.00 ≈
14.04€
On December Five-and-Twenty (medley) - brass quintet
On December Five-and-Twenty (medley) - brass quintet
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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Todd Marchand
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On December Five-and-Twenty
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Con Spirito Music
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.726032 Composed by Traditional. Arranged by Todd Marchand. Christmas,Folk. Score and parts...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.726032 Composed by Traditional. Arranged by Todd Marchand. Christmas,Folk. Score and parts. 17 pages. Con Spirito Music #2958109. Published by Con Spirito Music (A0.726032). “On December Five-and-Twenty†brings together three folk tunes from different regions of Europe. The first, “Fum, Fum, Fum,†is a Catalan carol from northeastern Spain. The second, “Pat-a-Pan,†comes from the Burgundy region of east-central France. The third, “Touro-Louro-Louro!†comes from the Provence region of southeastern France.Each tune bears an onomatopoetic title (a word that phonetically imitates or suggests the source of the sound that it describes): The refrain “fum, fum, fum†in the Catalan carol is an onomatopoeia for the strumming of a guitar. “Pat-a-pan†— the title of the Burgundian carol — imitates the sound of a drum being struck. “Touro-louro-louro!†— the title of the Provencal carol — suggests the singing of birds. (A similar onomatopoeia, “turelurelu,†appears in “Pat-a-Pan,†suggesting the sound of a fife, or flute, being played.)This is a delightful arrangement that is enjoyable to play and pleasing to listeners. ©Copyright 2014 Todd Marchand / Con Spirito Music. Visit www.conspiritomusic.com
$15.00 ≈
14.04€
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (brass parts – violin and symphony o
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (brass parts – violin and symphony o
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Orchestre
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AVANCÉ
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Or
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861956 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 114 pages. Mark O'Connor Musik Int...
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Full Orchestra - Level 5 - SKU: A0.861956 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 114 pages. Mark O'Connor Musik International #6209349. Published by Mark O'Connor Musik International (A0.861956). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (brass parts – violin symphony orchestra) MO152K-OBrass Parts (score and parts available)Music by Mark O’Connor94 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152K-OCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$80.00 ≈
74.86€
The Battle of Shiloh - Circus March
The Battle of Shiloh - Circus March
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Charles L Barnhouse Sr
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Chris Gorman
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The Battle of Shiloh - Circus
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Chris Gorman
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - SKU: A0.1168332 Composed by Charles L Barnhouse Sr. Arranged by Chris Gorman. Contest,Festival. Brass Band. 38 pages. Chris Gorman #768663. Published by Chris Gorman (A0.1168332). The Battle of Shiloh (also known as the Battle of Pittsburg Landing) was fought on April 6–7, 1862, in the American Civil War. The fighting took place in southwestern Tennessee, which was part of the war's Western Theater. The battlefield is located between a church named Shiloh and Pittsburg Landing, which is on the Tennessee River. Two Union armies combined to defeat the Confederate Army of Mississippi. Major General Ulysses S. Grant was the Union commander, while General Albert Sidney Johnston was the Confederate commander. This Circus March is a fine example of musical craftsmanship which would display the great quality of the Brass Band.
$40.00 ≈
37.43€
The Shelling
The Shelling
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Luis Bernal
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Luis Bernal
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The Shelling
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Luis Bernal
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.1019813 Composed by Luis Bernal. Arranged by Luis Bernal. Contemporary,Film/TV,Patriotic,Video Game. Score and parts....
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Brass Ensemble - Level 4 - SKU: A0.1019813 Composed by Luis Bernal. Arranged by Luis Bernal. Contemporary,Film/TV,Patriotic,Video Game. Score and parts. 14 pages. Luis Bernal #5725875. Published by Luis Bernal (A0.1019813). Inspired in the script: 1. Act 1: The slaughter Oradour-sur-Glane, France, June 1944. Having been informed that a Waffen-SS commander has been captured by local members of the Resistance, an SS Panzer battalion is sent to the small village of Oradour in an alleged search for the kidnapped officer and Partisans’ weapons. At two o'clock on Saturday 10th, the midday calm is shattered by the appearance of German troops led by Major Diekmann at the southeastern entrance to the village. Soon after, all seven hundred villagers are assembled on the fairground. Women and children are herded and locked into the church, whereas men are marched in groups to nearby barns and crammed inside. While the village is being plundered, all men are machine-gunned by soldiers, and then the barns are set alight. A smoke bomb sets the church on fire too, and women and children trying to escape through the windows are mowed down as they make it outside. Marguerite is wounded on her way out, but she manages to hide in the bushes and stays there overnight until she is finally rescued the next afternoon. Then, she will face the aftermath: few of her fellow villagers have survived the slaughter… (Alfons Conde)
$7.99 ≈
7.48€
American Vignettes
American Vignettes
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Contemporain
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Sy Brandon
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American Vignettes
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Sy Brandon
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SheetMusicPlus
Composed by Sy Brandon. 21st Century, 20th Century, Contemporary Classical, Folk, Recital. Score, Set of Parts. 88 pages. Published by Sy Brandon (S0.188057). -...
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Composed by Sy Brandon. 21st Century, 20th Century, Contemporary Classical, Folk, Recital. Score, Set of Parts. 88 pages. Published by Sy Brandon (S0.188057). - Score,Set of Parts - 21st Century,20th Century,Contemporary Classical,Folk,Recital - Sy Brandon
American Vignettes was composed during 2011 for the Lyric Brass of Pacific Lutheran University. They were looking for a composition to include on a CD of American music and one that would feature each of the musicians. The first movement, ?Barn Dance?, features the first trumpet and after a syncopated, fanfare-style introduction, the movement uses fragments and elaborations of "Old Chisholm Trail" and "Short?nin Bread". For the second movement, I wanted to write a blues and feature the other trumpet player on Flugelhorn. As I was working on the movement, the blues seem very mysterious and lonely, so I titled the movement 4 A.M. Blues. It reflects someone who can?t sleep and is contemplating the deep mysteries of life and feels very alone in the world. Movement 3 is the tuba feature and is called "Spirituals". I use three different spirituals in this movement, "Nobody Knows the Trouble I?ve Seen". "Cotton Needs Picking" and "Every Time I Feel the Spirit." Movement 4 ?Fiesta? is a trombone feature and represents the Southwest. The Southwestern flavor is accomplished through alternating 6/8 and 3/4 and the bright colors of the muted brass playing staccato eighth note rhythms and "ay" sounding motifs. The Horn is featured in the fifth movement ?From Sea to Shining Sea? that starts with a jazz harmony version of ?America the Beautiful? followed by a jazz waltz built from motifs of the song. The last movement is called ?Harlem Jump? and is an up-tempo jive with Be-bop type solos written for each of the musicians. ?
$14.99 ≈
14.03€
Southwestern Brass
Southwestern Brass
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Ensemble de Tubas
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Kenneth D
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Southwestern Brass
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Cimarron Music Press - Digital
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SheetMusicPlus
Composed by Kenneth D. Friedrich. Large ensemble music. 48 pages. Published by Cimarron Music Press - Digital (CX.CM984). - - - Cimarron Music Press - Digital...
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Composed by Kenneth D. Friedrich. Large ensemble music. 48 pages. Published by Cimarron Music Press - Digital (CX.CM984). - - - Cimarron Music Press - Digital
$24.00 ≈
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Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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