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You've selected:
Concert band, Choral
Sheetmusic to print
6,095 sheet music found
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6076
From Darkness to Light a tribute to Nelson Mandela - choral score
From Darkness to Light a tribute to Nelson Mandela - choral score
#
Choral SATB
#
Contemporary
#
Philip Orem
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From Darkness to Light a tribu
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Philip Orem
#
SheetMusicPlus
Piano Accompaniment, Choir, SATB, Concert Band - Intermediate - Composed by Philip Orem. 20 pages. Published by Philip Orem...
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Piano Accompaniment, Choir, SATB, Concert Band - Intermediate - Composed by Philip Orem. 20 pages. Published by Philip Orem
The choral score with piano reduction of From Darkness to Light for concert band and choir.
We're on the honor system here, please buy as many copies as you have performers. Printing more copies than you purchase is a violation of the copyright.
For further information contact me at po4musik@aol.com or https://po4musik.wixsite.com/website.
$4.50 ≈
4.15€
ChorAlles - Easy Chorales for Junior or Beginning Band (grade 1)
ChorAlles - Easy Chorales for Junior or Beginning Band (grade 1)
#
Concert band
#
BEGINNER
#
Sacred music
#
Ivan Marini
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ChorAlles - Easy Chorales for
#
www.dalsegno.eu
#
SheetMusicPlus
Concert Band - Level 1 - SKU: A0.770426 Composed by Ivan Marini. Baroque,Contemporary,Instructional,Praise & Worship,Sacred. Score and parts. 22 pages. ...
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Concert Band - Level 1 - SKU: A0.770426 Composed by Ivan Marini. Baroque,Contemporary,Instructional,Praise & Worship,Sacred. Score and parts. 22 pages. Www.dalsegno.eu #5221533. Published by www.dalsegno.eu (A0.770426). Three very easy chorales for beginning or Junior Band.Accurately scored for Grade 1 with easy keys and limited ranges:Flute: 1 Octave (A to A)Oboe (opt.): 1 Octave (F to F)Clarinet: bottom G to throat ASaxophones: 1 Octave (G to G)Trumpet: 1 Octave (B to B)Horn: 1 Octave (C to C)Low Brass: 1 Octave (written C to C, sounding Bb to Bb)Two Timpani opt.Every instrument or family takes the lead for a well-changing sound despite the easy level.Extended cross-cueing for smaller and/or incomplete bands.Ideal for band classes but also as a warm-up or tuning exercise for more experienced players, for final concerts and for every sacred or worship event.Complete set with full score and parts: Flute/Oboe, Bb Clarinet, Bb Bass Clarinet (opt.), Eb Alto Sax, Bb Tenor Sax, Bb Trumpet, F Horn, C Bassoon/Trombone/Euphonium, Bb Euphonium TC, C Basses, Timpani (opt.).Duration ca. 4 mins., 6 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$2.99 ≈
2.76€
Ode to Joy for Concert Band and Choir
Ode to Joy for Concert Band and Choir
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Choral Unison
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BEGINNER
#
Classical
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Ludwig van Beethoven
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Jeremy Corcoran
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Ode to Joy for Concert Band an
#
LPC Publishers
#
SheetMusicPlus
Choral Choir (Unison) - Level 1 - SKU: A0.714427 Composed by Ludwig van Beethoven. Arranged by Jeremy Corcoran. Classical,Concert,Film/TV,Standards. Oct...
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Choral Choir (Unison) - Level 1 - SKU: A0.714427 Composed by Ludwig van Beethoven. Arranged by Jeremy Corcoran. Classical,Concert,Film/TV,Standards. Octavo. 34 pages. LPC Publishers #3373857. Published by LPC Publishers (A0.714427). Beethoven's famous melody is arranged here for Concert Band and Chorus. Parts stay within the comfortable range of all the instruments. Easy to put together, this is great for a combined Band and Chorus piece at the end of your concert. The whole audience will have to stay for the entire concert. .
$32.00 ≈
29.51€
Americana Festival Finale (featuring Simple Gifts & Shenandoah) for Combined Orchestra, Concert Band
Americana Festival Finale (featuring Simple Gifts & Shenandoah) for Combined Orchestra, Concert Band
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Choral SATB
#
INTERMEDIATE
#
Traditional
#
M
#
Americana Festival Finale
#
Vocal Works
#
SheetMusicPlus
Choral Choir (4-Part) - Level 3 - SKU: A0.742027 Composed by Traditional. Arranged by M. Ryan Taylor. Folk,Holiday,Patriotic,Traditional. Octavo. 41 pag...
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Choral Choir (4-Part) - Level 3 - SKU: A0.742027 Composed by Traditional. Arranged by M. Ryan Taylor. Folk,Holiday,Patriotic,Traditional. Octavo. 41 pages. Vocal Works #4285563. Published by Vocal Works (A0.742027). A stirring mashup of two Americana favorites, Simple Gifts & Shenandoah) arranged for choir, orchestra and concert band. Premiered at the 2018 Americana Arts & Music Festival by the American Fork Symphony, Wasatch Winds, Timpanogos Chorale and American Fork Youth Choirs.
$38.00 ≈
35.05€
Joy to the World for Concert Band and Unison Choir
Joy to the World for Concert Band and Unison Choir
#
Choral Unison
#
BEGINNER
#
Sacred music
#
Christmas
#
Handel, Watts
#
L
#
Joy to the World for Concert B
#
Dearing Music Studio
#
SheetMusicPlus
Choral Choir (Unison) - Level 1 - SKU: A0.1014638 Composed by Handel, Watts. Arranged by L. Dearing. Christian,Christmas,Sacred. Octavo. 16 pages. Deari...
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Choral Choir (Unison) - Level 1 - SKU: A0.1014638 Composed by Handel, Watts. Arranged by L. Dearing. Christian,Christmas,Sacred. Octavo. 16 pages. Dearing Music Studio #4888439. Published by Dearing Music Studio (A0.1014638). An arrangement of Joy to the World for Concert Band and Unison Choir, originally written for performance by my elementary school students. The band parts are simple, so are playable for students in their first and second years of playing.Includes parts for:FluteClarinet 1 & 2Trumpet 1 & 2Alto SaxophoneFrench HornTromboneEuphoniumDrumsMallet PercussionUnison Choir
$19.99 ≈
18.44€
Homecoming Hymn - Concert Band (with Vocal) Score and Parts PDF
Homecoming Hymn - Concert Band (with Vocal) Score and Parts PDF
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Choral Unison
#
INTERMEDIATE
#
Sacred music
#
Brendan Elliget MAGA 537
#
Homecoming Hymn - Concert Band
#
BJE Music
#
SheetMusicPlus
Choral Choir (Unison) - Level 3 - SKU: A0.750773 Composed by Brendan Elliget MAGA 537. Christian,Sacred. Octavo. 46 pages. BJE Music #3560003. Published...
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Choral Choir (Unison) - Level 3 - SKU: A0.750773 Composed by Brendan Elliget MAGA 537. Christian,Sacred. Octavo. 46 pages. BJE Music #3560003. Published by BJE Music (A0.750773). Homecoming Hymn - Concert Band (with Vocal) Score and Parts PDF
$20.00 ≈
18.45€
Stars - for Concert Band
Stars - for Concert Band
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Choral SATB
#
INTERMEDIATE
#
Contemporary
#
Jason McChristian
#
Stars - for Concert Band
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.886111 Composed by Jason McChristian. Contemporary. Score and parts. 39 pages. Jason Gary McChristian #55837. Published...
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Concert Band - Level 3 - SKU: A0.886111 Composed by Jason McChristian. Contemporary. Score and parts. 39 pages. Jason Gary McChristian #55837. Published by Jason Gary McChristian (A0.886111). BACK TO SCHOOL 2015 Originally composed for choir, this concert band version of STARS captures the same expressiveness of the version from voices but now with a fresh variety of color. While the version for choir was dedicated to my then fiancé, this version for concert band is also dedicated to her, now as my wonderful wife. Duration: 3.5 minutes http://www.jasonmcchristian.com/Stars---for-Concert-Band.html ASCAP Version for SATB Choir - 2013 Version for Band - 2015.
$40.00 ≈
36.89€
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
#
Concert band
#
EASY
#
Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.22€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95 ≈
44.22€
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
44.22€
Lenda de Martim (for Alto Saxophone Solo, Saxophone Quartet SATB & Concert Band)
Lenda de Martim (for Alto Saxophone Solo, Saxophone Quartet SATB & Concert Band)
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Choral SATB
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INTERMEDIATE/ADVANCED
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Contemporary
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Luis Cardoso
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Lenda de Martim
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Luis Cardoso
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SheetMusicPlus
Choral Choir (4-Part) - Level 4 - SKU: A0.934373 Composed by Luis Cardoso. Contemporary. Octavo. 140 pages. Luis Cardoso #6168163. Published by Luis Car...
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Choral Choir (4-Part) - Level 4 - SKU: A0.934373 Composed by Luis Cardoso. Contemporary. Octavo. 140 pages. Luis Cardoso #6168163. Published by Luis Cardoso (A0.934373). Challenged by my friend André Granjo, I wrote this piece for Wind Instruments Group of Coimbra (GISC)​​, where André is now conductor. It is expected to be premiered during the first months of 2013, in collaboration with internationally renowned saxophonist Jean-Yves Fourmeau. I've been teenager GISC saxophonist, and with the group traveled through several European cities, which otherwise would have been impossible for me. I dedicate the Martim’s Legend to GISC and Professor Adelino Martins, who directed the group for decades, until his retirement this year. I related his name with a book I read, A Lenda de Martim Regos written by Pedro Canais and published in 2004. Martin, the main character, is born in Ribatejo (Portuguese province) in the fifteenth century, and his fate led him through Africa, America and Asia. Its amazing fictional story inspired me this music, because of travel, discovery, persistence and distracted absorbing knowledge.
$200.00 ≈
184.45€
KYRIE ELEISON (concert band, medium easy, score, parts & license to copy)
KYRIE ELEISON (concert band, medium easy, score, parts & license to copy)
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Concert band
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EASY
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Antonio Lotti
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Brian Harris
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KYRIE ELEISON
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Bandroom.com Publications
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.859753 Composed by Antonio Lotti (c.1667-1740). Arranged by Brian Harris. Christian,Classical,Historic,Instructional,Sa...
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Concert Band - Level 2 - SKU: A0.859753 Composed by Antonio Lotti (c.1667-1740). Arranged by Brian Harris. Christian,Classical,Historic,Instructional,Sacred. 38 pages. Bandroom.com Publications #3134913. Published by Bandroom.com Publications (A0.859753). _______________________Choral work by Antonio Lotti (c.1667-1740); transcribed for band by Brian HarrisThe Kyrie is part of the Ordinary of the Roman Catholic Mass. This musical setting of the Kyrie was written for choir by Italian composer Antonio Lotti, who spent his entire career at the famous St. Mark's Basilica in Venice.The adaptation of choir literature for use by wind players provides an ideal tool for teaching basic musicianship such as intonation, balance, and blend as well as the advanced techniques of phrasing, nuance of line, and accuracy of ensemble articulation. Because the work consists of only 4 voices, players can more readily hear and address individual, section, and ensemble problems.The score and each part is notated with the specific voice assignment (S = soprano, A = alto, T = tenor, B = bass). This allows the conductor to rehearse like groups by simply asking for all players with the alto line and so forth. Knowing that another instrument is playing the exact same line can encourage them to listen across the band in order to match style/balance with the other players.You may view the entire score as well as additional part samples and detailed information for this work at my site www.bandroom.com - - - - - - - - - - - - - - -ARRANGER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director at the public school and college level for over 30 years. His works are available from www.bandroom.com and as digital downloads.__________________________________
$30.00 ≈
27.67€
Chorale for Band
Chorale for Band
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Concert band
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BEGINNER
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Contemporary
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Terry White
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Chorale for Band
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LudwigMasters Digital
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SheetMusicPlus
Concert Band - Grade 1 - Composed by Terry White. Beginning Band. 21st Century. Score and Parts. 27 pages. LudwigMasters Digital #50100246. Publishe...
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Concert Band - Grade 1 - Composed by Terry White. Beginning Band. 21st Century. Score and Parts. 27 pages. LudwigMasters Digital #50100246. Published by LudwigMasters Digital
ISBN 9781682968727. 9 x 12 inches.
Sustained, beautiful playing is perhaps the most difficult skill to teach young musicians. That makes a chorale at the grade 1 level a valuable commodity. Conservative ranges, no technical difficulties, and a lovely melody combine to make this the most important work your students may perform all year.
$42.00 ≈
38.73€
CONCERT TUNER IN B-FLAT (young concert band warm up; very easy; score, parts & license)
CONCERT TUNER IN B-FLAT (young concert band warm up; very easy; score, parts & license)
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Concert band
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BEGINNER
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Instructional
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Bandroom
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CONCERT TUNER IN B-FLAT
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Bandroom.com Publications
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.859739 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #2988...
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Concert Band - Level 1 - SKU: A0.859739 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #2988817. Published by Bandroom.com Publications (A0.859739). _______________________This piece is an ideal introduction for purchasing music as a digital download. For only $8, you get an entire band arrangement (Score and Parts). Written expressly for use on-stage before contest or a concert, CONCERT TUNER IN B-FLAT will help your band tune, adjust balance, and focus on the upcoming performance. Easier to transport than a full set of chorale books, this simple arrangement is ideal for helping players get accustomed to the feel and acoustics of the stage. Included are step-by-step suggestions of how your band can benefit from every phrase. To view sample parts, visit www.bandroom.com where you will find detailed information regarding ranges, keys, instrumentation, and more. AVAILABLE:Concert Tuner in B-flat  (use on stage when your first selection is in the key of B-flat or g minor, etc.)Concert Tuner in E-flat  (use on stage when your first selection is in the key of E-flat or c minor, etc.)Concert Tuner in F  (use on stage when your first selection is in the key of F or d minor, etc.) This download includes the 4 page SCORE and 22 pages of PARTS, plus a SITE-LICENSE permitting the purchasing school to print as many scores and parts as needed. Never lose a part again!- - - - - - - - - - - - - -COMPOSER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director for over 30 years. Many of his arrangements and compositions are available here as digital downloads and from www.bandroom.com. ____________________________.
$8.00 ≈
7.38€
CONCERT TUNER IN F (young concert band warm up; very easy; score & parts & license)
CONCERT TUNER IN F (young concert band warm up; very easy; score & parts & license)
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Concert band
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BEGINNER
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Instructional
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Bandroom
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CONCERT TUNER IN F
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Bandroom.com Publications
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.859748 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #3134...
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Concert Band - Level 1 - SKU: A0.859748 Composed by Bandroom.com Publications. Instructional. Score and parts. 27 pages. Bandroom.com Publications #3134291. Published by Bandroom.com Publications (A0.859748). ______________________ This piece is an ideal introduction for purchasing music as a digital download. For only $8, you get an entire band arrangement (Score and Parts). Written expressly for use on-stage before contest or a concert, CONCERT TUNER IN F will help your band tune, adjust balance, and focus on the upcoming performance. Easier to transport than a full set of chorale books, this simple arrangement is ideal for helping players get accustomed to the feel and acoustics of the stage. Included are step-by-step suggestions of how your band can benefit from every phrase. To view additional sample parts, visit www.bandroom.com where you will find detailed information regarding ranges, keys, instrumentation, and more. This download includes the SCORE and all PARTS, plus a SITE-LICENSE permitting the purchasing school to photocopy as many SCORES and PARTS as needed. Never lose a score or part again! ALSO AVAILABLE: Concert Tuner in B-flat  (use on stage when your first selection is in the key of B-flat or g minor, etc.) Concert Tuner in E-flat  (use on stage when your first selection is in the key of E-flat or c minor, etc.) Concert Tuner in F  (use on stage when your first selection is in the key of F or d minor, etc.) ____________________________ COMPOSER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director for over 30 years. Many of his arrangements and compositions are available here as digital downloads and from www.bandroom.com ____________________________
$8.00 ≈
7.38€
The Pet Concerto (SATB Version)
The Pet Concerto (SATB Version)
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Choral SATB
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EASY
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Stephen DeCesare
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The Pet Concerto
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Exultet Music
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.631387 Composed by Stephen DeCesare. Broadway,Concert,Film/TV,Musical/Show. Octavo. 26 pages. Exultet Music #653...
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Choral Choir (SATB) - Level 2 - SKU: A0.631387 Composed by Stephen DeCesare. Broadway,Concert,Film/TV,Musical/Show. Octavo. 26 pages. Exultet Music #6535055. Published by Exultet Music (A0.631387). A vocal concerto about our friends from the animal kingdom that we have as pets. First movement: The Pets Fugue: If you ever wondered what it was like to sing like your favorite pet, well now you can. Each part is a different animal (Dog, Cat, Bird or Frog). Second movement: Take Me Home: This heartfelt song is from a pet's point of view of those who have been abandoned and left at a pound. Third Movement: Rainbow Bridge: Tender, heartfelt song for all those who have had a pet crossover and hope to see again at the Rainbow Bridge. Can be performed live or virtually. Scored for SATB, Vocal Solo with Piano accompaniment. Rehearsal and accompaniment tracks are also available as well as the individualized pieces. Accessible and appropriate for any school or concert setting.
$10.00 ≈
9.22€
Sarabande
Sarabande
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Concert band
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INTERMEDIATE
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Classical
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George Frideric Handel
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James K
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Sarabande
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James K. Taylor
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1083576 Composed by George Frideric Handel. Arranged by James K. Taylor. Classical,Contest,Festival,Instructional,Multi...
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Concert Band - Level 3 - SKU: A0.1083576 Composed by George Frideric Handel. Arranged by James K. Taylor. Classical,Contest,Festival,Instructional,Multicultural,Romantic Period,World. Score and parts. 26 pages. James K. Taylor #687780. Published by James K. Taylor (A0.1083576). This is a beautiful but somber sounding piece. It is not very difficult, and it would also make a great warm-up choral, or music for a serious occasion. There is one staccato note that is played, but I did not write it in the music. I am sure you will hear it. I wrote this as a tribute to Francis McBeth, who judged my bands many times. He was a giant of composition. Enjoy.
$30.00 ≈
27.67€
CHORALES FOR BAND
CHORALES FOR BAND
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Concert band
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BEGINNER
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John Bacchus Dykes and Mark Da
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Mark Danner
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CHORALES FOR BAND
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Mark Danner
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1165498 Composed by John Bacchus Dykes and Mark Danner. Arranged by Mark Danner. Contest,Festival,Historic,Patriotic,Sa...
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Concert Band - Level 1 - SKU: A0.1165498 Composed by John Bacchus Dykes and Mark Danner. Arranged by Mark Danner. Contest,Festival,Historic,Patriotic,Sacred,Standards. Score and Parts. 22 pages. Mark Danner #765858. Published by Mark Danner (A0.1165498). This is a 6 piece chorale warm up for concert bands. 2 of them are classic hymns Eternal Father Strong to Save & Fairest Lord Jesus The other 4 are originals with plenty of melodic and harmonious sounds.
$10.00 ≈
9.22€
Rhapsody for Concert Band
Rhapsody for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Classical
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00 ≈
18.45€
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Concert band, Choral
