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From the Inside Out Trombone 1,2
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You've selected:
From the Inside Out Trombone 1,2
Sheetmusic to print
10 sheet music found
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1
From The Inside Out - Trombone 1 & 2
From The Inside Out - Trombone 1 & 2
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Trombone (band part)
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Sacred music
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Hillsong
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Heather Sorenson
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From The Inside Out - Trombone
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.251981 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumenta...
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Digital Download SKU: HX.251981 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumental Pak. 2 pages. Duration 240. Hal Leonard - Digital #114378. Published by Hal Leonard - Digital (HX.251981).
$7.00 ≈
6.49€
From the Inside Out - Trombone 1,2
From the Inside Out - Trombone 1,2
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Trombone (band part)
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Sacred music
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Joel Houston
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J
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From the Inside Out - Trombone
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.127367 Composed by Joel Houston. Arranged by J. Daniel Smith. Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental ...
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Digital Download SKU: HX.127367 Composed by Joel Houston. Arranged by J. Daniel Smith. Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental Pak. 2 pages. Duration 305. Hal Leonard - Digital #114378. Published by Hal Leonard - Digital (HX.127367).
$7.00 ≈
6.49€
I Sit Here on the Barren Hill
I Sit Here on the Barren Hill
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Fiona Alice Hickie
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Fiona Alice Hickie
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I Sit Here on the Barren Hill
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Fiona Alice Hickie
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Ali...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Chamber,Classical,Latin. 17 pages. Fiona Alice Hickie #1001228. Published by Fiona Alice Hickie (A0.1419806). A piece for brass quintet based on the poem by the same name. It is a slow piece is a South American style.Based on the poem: Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives. Dedicated to Ben van den Akker.
$13.99 ≈
12.97€
The Home Coming March (1908) - Concert Band Score and Parts PDF
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00 ≈
27.82€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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)
$23.99 ≈
22.25€
A Gust Inside The God
A Gust Inside The God
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Youngblood Brass Band
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Nat McIntosh
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A Gust Inside The God
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Layered Music
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1393952 By Youngblood Brass Band. By David Henzie-Skogen. Arranged by Nat McIntosh. Funk,Hip-Hop,Jazz,R & B,Soul. 49 p...
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Level 3 - Digital Download SKU: A0.1393952 By Youngblood Brass Band. By David Henzie-Skogen. Arranged by Nat McIntosh. Funk,Hip-Hop,Jazz,R & B,Soul. 49 pages. Layered Music #977405. Published by Layered Music (A0.1393952). Full score and parts for the Youngblood Brass Band song 'A Gust Inside the God', by David Henzie-Skogen, taken from the Pax Volumi album recordings. This is the official transcription from the record, i.e. 2 trumpet parts, 2 trombones, 1 alto sax, 1 tenor sax, 1 snare drum/cymbal, 1 bass drum/cymbal, and sousaphone. Transcribed and approved by the author. This is the only YBB-sanctioned sheet music in existence for this original tune.YBB members are also available for online lessons, commissions, bespoke arrangements, and custom studio work. Contact us for details, and check out our entire catalog of music, merch, and arrangements at youngbloodbrassbandofficial.bandcamp.comAll links to YBB social media/music/info: linktr.ee/youngbloodbrassbandThanks for listening.
$65.00 ≈
60.27€
Karrinyup Fanfare
Karrinyup Fanfare
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Ben Clapton
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Karrinyup Fanfare
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Ben Clapton
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1205401 Composed by Ben Clapton. Classical,Contemporary. Score and parts. 103 pages. Ben Clapton #803...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1205401 Composed by Ben Clapton. Classical,Contemporary. Score and parts. 103 pages. Ben Clapton #803587. Published by Ben Clapton (A0.1205401). An Orchestral Fanfare, written for the Metropolitan Symphony Orchestra, Perth. 2 Flutes (2nd doubling Piccolo), 2 Oboes, 2 Bb Clarinet, 2 Bassoon, 4 French Horns, 2 Trumpets in Bb, 2 Trombones, 1 Tuba, 4 Percussion (Timpani, Bass Drum, Snare Drum, Cymbals), Harp, StringsComposer's notes:2022 was a year that sparked inspiration for me. I am not talking about just one spark either, but a series that beautifully led me to the creation of my piece. After seeing the 2022 MetSO program it was evident that it lightly using the Brass players, and I knew they were feeling a bit underutilised. Which sparked the first idea in my mind to write a piece that would take full advantage of their skills, and heavily use brass instruments. The program coincided with the 45th Anniversay of the Orchestra which started it life as the Karrinyup Symphony Orchestra. Rekindling the orchestra’s relationship with the City of Stirling and returning to the City of Stirling as a rehearsal venue in 2023, was another spark of inspiration which led me towards the piece’s naming… the ‘Karrinyup Fanfare’. The last spark of inspiration was a query inside my mind. The opening of the piece contrasts two somewhat conflicting meanings of the word Karrinyup. During an Aboriginal Studies unit, I discovered that Karrinyup is a Noongar word that translates to “the place where there are spidersâ€. However, this differs from the City of Stirling official meaning of the name Karrinyup on the website. It states the word means “the place where Kangaroos drinkâ€, possibly because it sounds much more pleasant and doesn’t inspire the fear that spiders often do. It was this contrary interpretation of the word ‘Karrinyup’ which provided the final spark of inspiration I needed for this composition. You see, when you listen to the opening, the theme jumps up and down through the horns, and represents the Kangaroo – Yongka. Whilst as the fanfare continues, you will notice the second theme – the crawling strings represent the spider – Kar. I hope you enjoy it as much as I did creating it. May it, and this new year, spark inspiration for you.
$75.00 ≈
69.55€
A Sky Full Of Stars
A Sky Full Of Stars
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Concert band
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INTERMEDIATE
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Coldplay
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T
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Simone Orsini
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A Sky Full Of Stars
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Simone Orsini
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1423779 By Coldplay. By Avicii, Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged b...
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Concert Band - Level 3 - Digital Download SKU: A0.1423779 By Coldplay. By Avicii, Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Simone Orsini. 21st Century,Pop. 79 pages. Simone Orsini #1005018. Published by Simone Orsini (A0.1423779). A SKY FULL OF STARS performed by ColdplayFor Concert Band - Performance Time 4:02 - Digital DownloadComposed by T. Bergling, J. Buckland, W. Champion, C. Martin,G. BerrymanArranged by Simone OrsiniInstrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Tuba, El. Bass, Drum Set, Percussion (Tamb., Shaker), El. Guitar, keyboard.Additional Parts:Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., Bb Bass Trombone T.C., Bb Euphonium T.C., Bb Bass T.C.A Sky Full of Stars is a song by the British rock band Coldplay. It was released in May 2014 as the second single from their sixth album, Ghost Stories (2014). An exclusive digital EP version of it, with the B-sides All Your Friends, Ghost Story and O (Reprise), came out in the following weeks, being considered the band's eleventh extended play.The band co-wrote and co-produced the song with Avicii and received production assistance from Paul Epworth, Daniel Green and Rik Simpson. It was recorded at the Bakery and the Beehive in North London, England. Upon its release, A Sky Full of Stars garnered mostly positive reviews from music critics and charted inside the top 10 in over 16 countries such as Australia, Canada, Ireland, Japan, Mexico, New Zealand, the United Kingdom and United States.A music video for the song was directed by Mat Whitecross and was released on 19 June 2014. The single peaked at number one in Italy, Israel, Luxembourg, Portugal, Lebanon, and the Walloon region of Belgium. It also topped the Billboard Hot Dance Club Songs chart. It was nominated for Best Pop Duo/Group Performance at the 57th Grammy Awards.
$68.00 ≈
63.06€
Grandfather’s Clock with Hickory Dickory Dock
Grandfather’s Clock with Hickory Dickory Dock
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Concert band
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INTERMEDIATE
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Folkloric/Traditional
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Stephen R Dalrymple
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Stephen R Dalrymple
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Grandfather’s Clock with Hic
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.818278 By Stephen R Dalrymple. By Henry A Work. Arranged by Stephen R Dalrymple. Folk. Score and parts....
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Concert Band - Level 3 - Digital Download SKU: A0.818278 By Stephen R Dalrymple. By Henry A Work. Arranged by Stephen R Dalrymple. Folk. Score and parts. 30 pages. Stephen R Dalrymple #4884975. Published by Stephen R Dalrymple (A0.818278). Grandfather’s Clock ♫ by Henry A Work ♫ with Hickory Dickory Dock ♫ arranged for concert band by Stephen R Dalrymple ♫ My Grandfather’s clock was written in 1876 by Henry Clay Work (written in England by an American author.) Our first print record of the poem Hickory Dickory Dock is in 1744. The origin of the music is lost in history. ♫ The teaching point of this piece is to instruct the young band how to switch back and forth from duple and triple time signatures. My method is to count the triplet or duplet inside a pulse (instead of counting 1, 2, 3, 4, 5, 6). This helps solidify the basic nature of 6 8 time in the student. ♫ The Percussion section has a critical role in the piece. ♫ sequenced by the arranger ♫ arrangement © 2001, 2005 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file 17 files (30 pages): 1) Condensed Conductor’s Score 2) Individual parts for: Flute, Oboe, Clarinet, Bass Clarinet, Alto Sax/Alto Clarinet, Tenor Sax, Baritone Sax, Trumpet, F Horn, Trombone/Baritone/Bassoon, Treble Clef Baritone, Tuba, Electric Bass, Wood Block/Triangle, Claves/Slide Whistle and Bells. ♫ The YouTube video contains the full recording.
$19.00 ≈
17.62€
Israel
Israel
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Jazz
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Miles Davis
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Harry Salotti
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Israel
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Harry Salotti
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Double Bass,Drums,Horn,Piano Accompaniment,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.941531...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Double Bass,Drums,Horn,Piano Accompaniment,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.941531 By Miles Davis. By John Carisi. Arranged by Harry Salotti. Jazz. Score and parts. 29 pages. Harry Salotti #6302365. Published by Harry Salotti (A0.941531). Israel composed by John Carisi and arranged by Harry Salotti. Full score and parts, Trumpet, Alto Sax, Bari Sax, French Horn, Trumpet 2 (sub for Horn) Trombone, Tuba, Piano, Bass, Drums. This arrangement is based on the original score and recording from Miles Davis' Birth of the Cool. The original Trumpet and Alto Sax solo's are included as well as the chord changes. The piano and bass parts have written parts and the chord changes. The songs from this album are a part of jazz history. Look inside at the score pages 1-4. You can hear the original recording on YouTube.
$19.99 ≈
18.54€
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From the Inside Out Trombone 1,2
