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Vous avez sélectionné:
Three And One for Jazz Trombone Quintet and Rhythm Section
Partitions à imprimer
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1
Three And One for Jazz Trombone Quintet and Rhythm Section
Three And One for Jazz Trombone Quintet and Rhythm Section
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Ensemble de Trombones
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AVANCÉ
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Jazz
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Thad Jones
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Fletcher, David
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Three And One for Jazz Trombon
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Cherry Classics Music
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SheetMusicPlus
Trombone Quintet and Rhythm Section Jazz - Advanced - Composed by Thad Jones. Arranged by Fletcher, David. Jazz, Blues, Swing, Big Band. 105 pages. ...
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Trombone Quintet and Rhythm Section Jazz - Advanced - Composed by Thad Jones. Arranged by Fletcher, David. Jazz, Blues, Swing, Big Band. 105 pages. Published by Cherry Classics Music
Jones wrote this work in 1958 for a small group session with his two brothers Hank (piano) and Elvin (drums) and is in the album Keepin' Up With The Joneses. The title refers to the three brothers plus another Jones, Eddie, who was the bass player on the session...therefore Three and One.
David Fletcher, a member of the award winning University of Illinois Jazz Trombone Ensemble under the direction of Jim Pugh arranged this great chart for Trombone Quintet and rhythm section. It is about 7-8 minutes in length and includes improvised jazz solos for Bass Trombone and 2nd Trombone and is appropriate for advanced performers.
$25.00 ≈
23.32€
The Peanut Vendor (el Manisero)
The Peanut Vendor (el Manisero)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Stan Kenton & His Orchestra
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F
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The Peanut Vendor
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1221432 By Stan Kenton & His Orchestra. By L. Wolfe Gilbert, Marion Sunshine, and Moises Si...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1221432 By Stan Kenton & His Orchestra. By L. Wolfe Gilbert, Marion Sunshine, and Moises Simons. Arranged by F. Leslie Smith. Jazz,Latin,Multicultural,Pop,World. 39 pages. Sweetwater Brass Press #817754. Published by Sweetwater Brass Press (A0.1221432). Can a brass quintet sound like Stan Kenton’s 19-piece big band? No, not really: no saxophones, no rhythm section, no Milt Bernhart, no Maynard Ferguson, no Bill Russo, no Conte Candoli, no . . . Well, you get the picture. But five brass instruments can play in the Kenton style. And that’s what this is: “The Peanut Vendor” in the style of the Stan Kenton Orchestra. Moisés Simons’ “El Manisero” (“The Peanut Vendor”) was first recorded in the late 1920s. The melody was relatively simple yet exotic sounding; the lyrics, a Cuban street vendor’s pitch for selling his bags of peanuts. Consumers bought more than a million copies of the sheet music, and the song supposedly led to a “rumba craze” in the U.S. and Europe (although the song is not really a rumba!). Don Azpiazú and his Havana Casino Orchestra recorded the song for RCA Victor in 1930 with Antonio Machín on the vocal; its sales may well have been more than the million-plus sheet music copies sold. English lyrics were added by L. Wolfe Gilbert and Marion Sunshine and the song became “The Peanut Vendor.” One estimate is that nearly 200 recordings have been made. That’s a lot of peanuts. Stan Kenton revived “The Peanut Vendor” in 1947 when he first recorded it for Capitol Records. His version was completely instrumental. Rhythm and saxophones opened the number and established the background; later the trombone section added emphasis. A trombone solo first stated the melody but eventually the five-person trumpet section took over with what one writer referred to as “shrieking dissonances.” “The Peanut Vendor” subsequently became one of Kenton’s most requested numbers and he recorded it at least three more times. This brass quintet arrangement, of course, has access to only two trumpets. So the good news is that all five players get a chance with the melody. Kenton’s extended opening trombone solo is shared by Trombone and Tuba. The “shrieking dissonances” are performed not only by Trumpets but also by Horn in F and Trombone. The bad news is that all five players have to take a turn with the continuing rhythmic background melody. Written in 4/4 time, the suggested tempo is 184 BPM in a Latin style. Kenton’s version is in B-flat major; this arrangement lowers it to A-flat major so that most notes are within the normal playing range of the instruments. (Don’t worry; the “shrieking dissonances” are still there!) Completed in 2023, performance time runs about 3 minutes, 37 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 ≈
12.12€
Patricia: A Ragtime Composition
Patricia: A Ragtime Composition
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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1900 ragtime was
the
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Joseph Lamb
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F
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Patricia: A Ragtime Compositio
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Histor...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music. The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri. The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.” But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar. By 1900 ragtime was the popular music. It stayed that way until about 1917 when the rise of jazz began to overtake it. By 1920, ragtime was nearly forgotten. Thirty years later, a ragtime revival began. And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime. In fact, the “Big Three” composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb. Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications. From there, Lamb went on to develop into a master of classic ragtime. One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.” (The title apparently had nothing to do with his daughter, who was born in 1924.) It consists of four themes in five sections, with the first theme repeated after sections 1 and 2. Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio. This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length. It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments. Possible exceptions for some players include: (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments. In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H. In performing this arrangement, players should pay particular attention to dynamics. Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal. 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. Contact him at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99 ≈
12.12€
Experiment #1
Experiment #1
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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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Steve Dekker
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Experiment #1
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Linden Brass Press Inc.
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1323145 Composed by Steve Dekker. Contemporary. 25 pages. Linden Brass Press Inc. #911412. ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1323145 Composed by Steve Dekker. Contemporary. 25 pages. Linden Brass Press Inc. #911412. Published by Linden Brass Press Inc. (A0.1323145). Experiment #1 for Brass QuintetTwo Trumpets (Bb), Horn (F), Trombone, TubaLevel: 4/5 (Colg→Univ)The composer combines lyrical heroism with jazzy rhythms to create a beautiful and approachable work for brass. An effective technique used is to punctuate the music with periodic silences or unison moments. There are a few quasi-Penny Lane measures for first trumpet midway through, followed by some nice tuba solos, then the piece ends with an appropriately What if...? feeling!===Performance Notes:Experiment #1 is an original composition written for brass quintet. This composition was inspired by a curiosity to explore the different instrument sounds available in music notation software. As a result, this piece was originally written for synths, keyboards, bass and drums. After completing the piece, I found the sounds and instrumentation lacked warmth and character. Ultimately, I liked the piece and decided the experiment would be to score it for brass quintet and see what happens. There are three basic themes or sections utilized in Experiment #1. The themes/sections move from heroic to the contemporary and culminate in a recapitulation of the hero theme. An eighth-note ostinato statement acts as a recurring motif connecting each section. The various themes are spread across the quintet with a variety of textures and contrapuntal devices serving to further elevate the composition. Run time is 4:48....Steve Dekker===.
$14.95 ≈
13.95€
Afro-american Symphony
Afro-american Symphony
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Ensemble de cuivres
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AVANCÉ
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William Grant Still
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Richard Decker
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Afro-american Symphony
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Charles Decker Music Press
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SheetMusicPlus
Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1095398 Composed by William Grant Still. Arranged by Richard Decker. 20th Century,Bl...
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Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1095398 Composed by William Grant Still. Arranged by Richard Decker. 20th Century,Blues,Classical,Contest,Festival,Multicultural,World. 61 pages. Charles Decker Music Press #699415. Published by Charles Decker Music Press (A0.1095398). This is a brilliant arrangement of the first movement Longing of William Grant Still's Afro-American Symphony for a brass choir of four B-flat trumpets, four horns in F, three trombones, euphonium and tuba. William Grant Still's Afro-American Symphony was one of the most significant classical orchestra compositions of the early 1930s to incorporate African-American folk influences. Premiered by the Rochester Philharmonic Orchestra in October 1931 at conductor Howard Hanson's notable American Music Festival, it brought the melancholy flavor of the Blues to the symphony. For William Grant Still the Blues was a distinct African-American musical contribution, separate from the spiritual and popular jazz, and he wanted to incorporate it into a symphonic work based on Western classical symphonic instrumentation and forms. As part of the early 20th Century Harlem Renaissance in New York City, this work was enthusiastically received across the USA and overseas. Pair this brass choir arrangement of the first movement Longing with the third movement Humor also at Charles Decker Music Press to enliven a concert with colorful rhythms, soulful melodies and blues harmonies. Beyond brass ensemble programs feature your band or orchestra brass section on this memorable and exciting arrangement. “The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!” Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.” Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series” in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$19.95 ≈
18.61€
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Three And One for Jazz Trombone Quintet and Rhythm Section
