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Brass Quintet: 2 trumpets, horn, trombone, tuba
Sheetmusic to print
5 sheet music found
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1
Once In Love With Amy
Once In Love With Amy
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Contemporary
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Frank Loesser
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F
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Once In Love With Amy
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - Digital Download SKU: A0.808700 Composed by Frank Loesser. Arranged by F. Leslie Smith. Contemporary. Score and parts. 16 page...
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Brass Ensemble - Level 3 - Digital Download SKU: A0.808700 Composed by Frank Loesser. Arranged by F. Leslie Smith. Contemporary. Score and parts. 16 pages. Sweetwater Brass Press #5020113. Published by Sweetwater Brass Press (A0.808700). Brandon Thomas’ three-act farce, Charley’s Aunt, opened in London in 1892 and was a huge success. It has since been performed and adapted many times. One such adaptation was Where’s Charley? a 1948 Broadway version with music and lyrics by Frank Loesser. Ray Bolger played the starring role as Charley, and its most memorable number was the second act’s Once In Love With Amy. Every night Bolger would perform the number, then turn to the audience and invite them to sing along with him. They loved it, and Bolger would continue to perform it as his signature act for years even after the play closed. The rhythmic and melodic nature of Once In Love With Amy, particularly its chorus, seems to lend itself to performance by musical instruments in the lower registers. And that’s what inspired this arrangement in which bass tuba carries the load with strong support from euphonium and tuba. All play the eight-measure introduction, while the verse-I caught you, sir, having a look at her as she went strolling by-features euphonium and tuba playing melody while bass tuba provides tempo and pulse. Then comes the familiar chorus-Once in love with Amy, always in love with Amy-and bass tuba takes over. The first time through, bass tuba plays melody with the other two providing accompaniment; the second time, bass tuba plays an intricate counterpoint while euph and tuba do a rather smooth swing version of the melody. Then comes the surprise ending in which all three participate. Most players will have little trouble. The arrangement consists of 75 measures in 4/4 time. There are several tempo changes; the fastest is quarter note equals 108. Key signature is G, changing to F at measure 44. All notes for euphonium and bass tuba should be within normal playing range. Tuba, on the other hand, plays quite a few G and A notes at the top of the treble clef. Sweetwater Brass Press also offers a similar version of Once In Love With Amy arranged for brass quintet. This arrangement was completed in 2020, and performance time runs about 3 minutes, 1 second. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for euphonium) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$12.99 ≈
12.13€
C Jam Blues for Brass Quintet
C Jam Blues for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Keith Terrett
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Keith Terrett
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C Jam Blues for Brass Quintet
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Keith Terrett
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SheetMusicPlus
Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arra...
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Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.â€The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session†the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam†Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues†was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues†was one of his nightly features with Satch’s ensemble along with “Tea for Two.†Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,†etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,†featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$12.99 ≈
12.13€
Four Cornish Tea Treat Tunes for Brass Quintet
Four Cornish Tea Treat Tunes for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Celtic/Irish
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Folkloric/Traditional
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Hannah Hawken
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Four Cornish Tea Treat Tunes f
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Hannah Hawken
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SheetMusicPlus
Brass Ensemble - Level 3 - Digital Download SKU: A0.752578 Arranged by Hannah Hawken. Celtic,Folk. Score and parts. 45 pages. Hannah Hawken #6427199. Pub...
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Brass Ensemble - Level 3 - Digital Download SKU: A0.752578 Arranged by Hannah Hawken. Celtic,Folk. Score and parts. 45 pages. Hannah Hawken #6427199. Published by Hannah Hawken (A0.752578). I was asked to arrange these old Cornish tunes as part of a project on the history of Tea Treat festivals for the Cornish National Music Archive. These events were held by churches or chapels, usually to celebrate a Sunday School anniversary, and involved a procession as well as entertainment, stalls, games and refreshments. Brass Bands would have been hired to play for the procession and provide background music throughout the day and it is believed that, alongside some more military-style marches, these are the type of pieces that would have been played.I have included parts for brass band or orchestral players:Part 1 - Trumpet/Cornet in BbPart 2 - Trumpet/Cornet in BbPart 3 - Tenor Horn in Eb/Horn in FPart 4 - Trombone/Euphonium/Baritone in Treble/Bass ClefPart 5 - Eb/Bb Bass (Treble Clef) or Tuba (Bass Clef)
$7.99 ≈
7.46€
Ewald: Quintet No. 4 for Brass instruments
Ewald: Quintet No. 4 for Brass instruments
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Contemporary
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Victor Ewald
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Roar Kvam
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Ewald: Quintet No. 4 for Brass
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KVAMusic Edition
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SheetMusicPlus
Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.768520 Composed by Victor Ewald. Arranged by Roar Kvam. 20th Century. 204 pages...
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Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.768520 Composed by Victor Ewald. Arranged by Roar Kvam. 20th Century. 204 pages. KVAMusic Edition #6424311. Published by KVAMusic Edition (A0.768520). Victor Ewald 27 November 1860 - 16 April 1935 Ewald was a Russian composer of music, mainly for conical brass instruments. He was born in Saint Petersburg and died in Leningrad. He also collected and published Russian folk songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer, in which he excelled, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the Institute of Civil Engineers. Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition. As an adult he worked alongside fellow musical nationalists known collectively as the Mighty Handful-Borodin, Mily Balakirev, CeÌsar Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov. All of these men had day jobs in non-musical fields.Ewald’s contributions as a composer reflected an abiding love for brass instruments for which he wrote his quintets scored originally for two cornets, alto horn, baritone horn and tuba. I've edited these four quartets using Ewald's original instrumentation, but there are also separate substitute parts for the modern brass quintet (2 trumpets, horn in F, trombone and tuba). Roar Kvam, Fossbrekka, April 14, 2020
$40.00 ≈
37.34€
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