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Text by Mary A
Concert band
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6 sheet music found
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1
Fantasy on a Hebrew Chant
Fantasy on a Hebrew Chant
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Concert band
#
EASY
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Richard E Brown
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Dacker Music
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-
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Fantasy on a Hebrew Chant
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Dacker Music
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.814715 Composed by Richard E Brown. Arranged by Dacker Music. Contemporary,Instructional,Standards. Sco...
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Concert Band - Level 2 - Digital Download SKU: A0.814715 Composed by Richard E Brown. Arranged by Dacker Music. Contemporary,Instructional,Standards. Score and parts. 58 pages. Dacker Music #2967143. Published by Dacker Music (A0.814715). Fantasy on a Hebrew Chant is based on the Yigdal, an ancient Jewish chant which is the basis for the modern hymn-tune Leoni. The composition is in the form of 3 settings of the tune that flow together almost imperceptibly. The first and third settings feature the theme woven into various contrapuntal textures, while the second employs a type of cantus firmus technique, where the primary melody is played in double note values in the lower instruments below woodwind figuration derived from the secondary part of the tune. In addition to working with contrapuntal lines and octave-tuning practice, Fantasy on a Hebrew Chant also provides opportunities for teaching the three types of minor scales, exploring how elements of all three are used in the same musical composition. The price includes license to make as many copies of each part as necessary.Grade 2+ - Duration 3:00
$45.00 ≈
40.47€
Salute 1,2,3,4
Salute 1,2,3,4
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Concert band
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EASY
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Johnson Lee
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Johnson Lee
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Salute 1,2,3,4
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johnson lee
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1474395 By Johnson Lee. By Johnson Lee. Arranged by Johnson Lee. 19th Century,Multicultural,Patriotic,W...
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Concert Band - Level 2 - Digital Download SKU: A0.1474395 By Johnson Lee. By Johnson Lee. Arranged by Johnson Lee. 19th Century,Multicultural,Patriotic,World. 22 pages. Johnson lee #1052020. Published by johnson lee (A0.1474395). A general salute typically refers to a gesture or action performed to show respect. The above tunes is composed specially and suitable for the following events. Military Context: In military settings to salute high ranking officers of the military force. Ceremonial Use: To salute, State officials International Events and Meetings: High-ranking officials, including secretaries-general, may be accorded with these salute tunes. Special Recognitions: to honour and respect a National or International award recipient. In summary, while the primary association of a general salute is with the military and its formal protocols, it is also used in various other official and ceremonial contexts to convey Respect, Ronour, and Recognition.
$25.00 ≈
22.48€
Sans Day Carol (Now The Holly Bears The Berry) - Concert Band PDF
Sans Day Carol (Now The Holly Bears The Berry) - Concert Band PDF
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Concert band
#
INTERMEDIATE
#
Christmas
#
Traditional Cornish Tune
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Brendan Elliget MAGA 537
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Sans Day Carol
#
BJE Music
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750993 Composed by Traditional Cornish Tune. Arranged by Brendan Elliget MAGA 537. Christmas. Score and...
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Concert Band - Level 3 - Digital Download SKU: A0.750993 Composed by Traditional Cornish Tune. Arranged by Brendan Elliget MAGA 537. Christmas. Score and parts. 40 pages. BJE Music #6038757. Published by BJE Music (A0.750993). The Sans Day Carol or St. Day Carol is one of the many Cornish Christmas carols written in the 19th century. This carol and its melody were first transcribed from the singing of Thomas Beard, a villager in St Day in the parish of Gwennap, Cornwall. The fourth verse is a translation from the Cornish version, Ma gron war'n gelln. The lyrics of Now the holly bears a berry, the text most associated with the Sans Day Carol.The arrangement here is for full Concert Band - which could be used as an accompaniment to the singing of the traditional words.Grade = 3 Duration = 3:25 minsThe lyricsNow the holly bears a berry as white as the milk, And Mary bore Jesus, all wrapped up in silk, And Mary bore Jesus Christ our Saviour for to be, And the first tree in the greenwood, it was the holly. Holly! Holly!And the first tree in the greenwood, it was the holly! Now the holly bears a berry as green as the grass, And Mary bore Jesus, who died on the cross, And Mary bore Jesus Christ our Saviour for to be, And the first tree in the greenwood, it was the holly. Holly! Holly!And the first tree in the greenwood, it was the holly! Now the holly bears a berry as black as the coal, And Mary bore Jesus, who died for us all, And Mary bore Jesus Christ our Saviour for to be, And the first tree in the greenwood, it was the holly. Holly! Holly!And the first tree in the greenwood, it was the holly! Now the holly bears a berry as blood is it red, And Mary bore Jesus who rose from the dead, And Mary bore Jesus Christ our Saviour for to be, And the first tree in the greenwood, it was the holly. Holly! Holly! And the first tree in the greenwood, it was the holly!
$25.00 ≈
22.48€
Our Flirtations
Our Flirtations
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Concert band
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INTERMEDIATE/ADVANCED
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John Philip Sousa
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Wesley Besancon
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Our Flirtations
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts...
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Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation†is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.†Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.
$14.99 ≈
13.48€
Isn't It Enough to Think...Without Having to Believe (or, The Only Church)
Isn't It Enough to Think...Without Having to Believe (or, The Only Church)
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Concert band
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Contemporary
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Neal Endicott
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Isn't It Enough to Think...Wit
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Neal Endicott Music
#
SheetMusicPlus
Concert Band - Digital Download SKU: A0.1030824 Composed by Neal Endicott. Contemporary. Score and parts. 35 pages. Neal Endicott Music #1249. Published ...
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Concert Band - Digital Download SKU: A0.1030824 Composed by Neal Endicott. Contemporary. Score and parts. 35 pages. Neal Endicott Music #1249. Published by Neal Endicott Music (A0.1030824). This piece was originally titled Istn’t it Enough, drawing inspiration from the famous passage from The Hitchhiker’s Guide to the Galaxy. I changed the wording slightly to be more encompassing of different modes of perception (thought is a broader concept than sight and the word think created better melodic material than the word see, using the method described below) I provided an alternate title to more clearly convey the meaning behind the piece. That is; that the only church that I will ever need is the one I find in musical expression and in the beauty of the natural world. Though Adams’ meaning was meant to convey the primary reasoning for his atheism-a reason that I use as well-I also see it as an admonishment of our need for constant stimulation. Adams felt-and I feel-that people need to take the time to slow down and enjoy life: we need to enjoy the beauty of the garden (both literally and metaphorically). That, quite simply, is what this piece is (or at least what it is to me). Among the compositional techniques that I used in this piece is one that I have been using quite a lot. I call it crypto-serialism. The basic concept is that I will take a piece of text (the Douglas Adams quote, in this case) and convert each letter to a number between 0 and 11 and then convert those numbers to musical pitches, where 0 = C, 1 = C#, etc. The technique offers me a way to draw actual musical ideas from the text itself, which I see as a means of creating a deeper connection to the text. The piece is dedicated to the Four Horsemen of the Non-Apocolypse: Richard Dawkins, Christopher Hitchens, Sam Harris, and Daniel Dennett.
$25.00 ≈
22.48€
Clair de Lune
Clair de Lune
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Concert band
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INTERMEDIATE
#
Augusta Holmes
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John Ivor Holland
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Clair de Lune
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1444294 Composed by Augusta Holmes. Arranged by John Ivor Holland. 19th Century,Chamber,Classical. 40 p...
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Concert Band - Level 3 - Digital Download SKU: A0.1444294 Composed by Augusta Holmes. Arranged by John Ivor Holland. 19th Century,Chamber,Classical. 40 pages. John Ivor Holland #1024207. Published by John Ivor Holland (A0.1444294). Augusta Mary Anne Holmès (16 December 1847 – 28 January 1903) was a French composer of Irish descent. In 1871, Holmès became a French national and added the accent to her last name. She wrote the texts to almost all of her vocal music herself, including songs, oratorios, the libretto of her opera ('La Montagne noire') and the programmatic poems for her symphonic poems including 'Irlande' and 'Andromède'. Despite showing talent at the piano, she was not allowed to study at the Paris Conservatoire, but took lessons privately. Like other female composers from the nineteenth century including Fanny Mendelssohn and Clara Schumann, Holmès published some of her earlier works under a male pseudonym (Hermann Zenta) because women in European society at that time were not taken seriously as artists and were discouraged from publishing. 'Clair de Lune' is the second of the 'Trois Petites Pièces' for flute and piano, composed in 1896, bring together the homelands dear to Holmès’ heart: Ireland, her country of origin, and France, her country of adoption. Arranged for concert band as part of an ongoing project to bring more music by women composers into the worldwide repertoire.
$49.99 ≈
44.96€
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