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I Got The Feelin' Trombone 1
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You've selected:
I Got The Feelin' Trombone 1
Sheetmusic to print
17 sheet music found
<
1
I Got the Feelin' - 1st Trombone
I Got the Feelin' - 1st Trombone
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Trombone (band part)
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INTERMEDIATE
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James Brown
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Paul Murtha
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I Got the Feelin' - 1st Trombo
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Hal Leonard - Digital
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SheetMusicPlus
Level 3 - SKU: HX.307839 By James Brown. Arranged by Paul Murtha. Funk,Pop,Rock,Soul. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digi...
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Level 3 - SKU: HX.307839 By James Brown. Arranged by Paul Murtha. Funk,Pop,Rock,Soul. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.307839).
$6.00 ≈
5.60€
I Gotta Feeling
I Gotta Feeling
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Trombone
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BEGINNER
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The Black Eyed Peas
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Kevin Busse
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I Gotta Feeling
#
Kevin Busse
#
SheetMusicPlus
Trombone Solo - Level 1 - SKU: A0.606909 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Wil...
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Trombone Solo - Level 1 - SKU: A0.606909 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Kevin Busse. Hip-Hop,R & B. Individual part. 3 pages. Kevin Busse #4604189. Published by Kevin Busse (A0.606909). This is a simple transcription of I Gotta Feeling in the easy key of C for Trombone.
$4.99 ≈
4.66€
I Got the Feelin' - 2nd Trombone
I Got the Feelin' - 2nd Trombone
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Trombone (band part)
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Funk
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Pop music
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James Brown
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Paul Murtha
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Pop
#
I Got the Feelin' - 2nd Trombo
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Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By James Brown. Arranged by Paul Murtha. Funk; Pop; Rock; Soul. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.307840). - Marching B...
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By James Brown. Arranged by Paul Murtha. Funk; Pop; Rock; Soul. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.307840). - Marching Band - Funk; Pop; Rock; Soul - Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
I Got The Feelin' - Trombone 1
I Got The Feelin' - Trombone 1
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Trombone (band part)
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Funk
#
Soul/R&B
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James Brown
#
Paul Murtha
#
Pop
#
I Got The Feelin' - Trombone 1
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By James Brown. Arranged by Paul Murtha. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.303756). - ind...
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By James Brown. Arranged by Paul Murtha. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.303756). - individual instrument part - Funk; Pop; Soul - Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
I Gotta Feeling
I Gotta Feeling
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The Black Eyed Peas
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Steve Hoover
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I Gotta Feeling
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Steve Hoover Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet - SKU: A0.764227 By The Black Eyed Pe...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet - SKU: A0.764227 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Steve Hoover. Hip-Hop,R & B. Score and parts. 50 pages. Steve Hoover Music #3210701. Published by Steve Hoover Music (A0.764227). I Gotta Feeling - BLACK EYED PEAS - PRO COMBO - 6 HORNS! - opt KEYS 2scored for trumpet 1, trumpet 2, trombone, alto sax, tenor sax, bari sax, keyboard 1, keyboard 2 (opt.), guitar, bass, drumsNO VOCAL CHART PROVIDED
$19.99 ≈
18.66€
I Gotta Feeling - Trombone 1
I Gotta Feeling - Trombone 1
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Trombone (band part)
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Pop music
#
Black Eyed Peas and The Black
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Paul Murtha
#
I Gotta Feeling - Trombone 1
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Mur...
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Jazz band. For Trombone 1. Pop. Jazz Band. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
Dust In The Wind
Dust In The Wind
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Rock
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Kansas
#
Jon Thingvall
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Dust In The Wind
#
Jon Thingvall
#
SheetMusicPlus
Acoustic Guitar,Alto Flute,Cello,Horn,Tenor Saxophone,Trombone,Violin - Level 3 - SKU: A0.1368317 By Kansas. By Kerry Livgren. Arranged by Jon Thingvall...
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Acoustic Guitar,Alto Flute,Cello,Horn,Tenor Saxophone,Trombone,Violin - Level 3 - SKU: A0.1368317 By Kansas. By Kerry Livgren. Arranged by Jon Thingvall. Pop,Rock. 45 pages. Jon Thingvall #952661. Published by Jon Thingvall (A0.1368317). Seeking a modern setting for a French Horn solo? Is the community--or are the students--feeling that classical music is stuffy? Got a budding Guitar Hero with nowhere to play? Want to give the orchestra a break, without stopping the program completely? Need a relaxed, quasi-Adagio for the concert's pacing?This is a record-copy of KANSAS' classic rock ballad, scored for a fairly small ensemble. Most instruments can be substituted: Flute for Alto Flute, Viola or Cello for Violin, Flugelhorn for the Horn part, or 4 Trombone parts instead of 3 with Solo Horn.Acoustic Guitar (will need amp). (Part copied verbatim from the official video, with thanks to Kansas - Dust In The Wind Guitar Lesson Pt.1 - Intro & Verse (youtube.com))French Horn solo-- Steve Walsh's epic, almost-apocalyptic style seemed perfectly suited to the mystique of the French Horn. (Measure 102 is “as though spoken” like in the recording here: https://youtu.be/tH2w6Oxx0kQ?t=126. If the audience isn't familiar with Steve's style, it may be better left as a quarter- or eighth-note (written F sharp), but if you've got a Hornist with the chops, I’ve tried to put the articulations in to imitate a spoken voice.)3 Trombones-- Mainly triadic pads, with two instances of 9ths in the upper bass clef.1 Tenor Sax / Double on Alto Flute The Sax will sound great sotto voce to the Horn. The Flute should be as soft as possible, and ethereal.Solo Violin (Could be sectional, instead of solo.)Solo Cello (Ibid.)The official video has bongos at the end, but I felt the sparse score worked well. They could easily be improvised, if needed.
$30.00 ≈
28.00€
I Gotta Feeling - Trombone
I Gotta Feeling - Trombone
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Trombone
#
Rock
#
Black Eyed Peas and The Black
#
Paul Murtha
#
I Gotta Feeling - Trombone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Mur...
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Trombone. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
I Gotta Feeling - Trombone
I Gotta Feeling - Trombone
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Trombone (band part)
#
Pop music
#
Black Eyed Peas and The Black
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Michael Brown
#
I Gotta Feeling - Trombone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael ...
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Trombone. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
I Gotta Feeling - Trombone
I Gotta Feeling - Trombone
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Trombone (band part)
#
Black Eyed Peas and The Black
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Mark A
#
Pop
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I Gotta Feeling - Trombone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Mark A. ...
(+)
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Mark A. Brymer. For Trombone (Combo). Combo. Concert; Pop; Rock. EPak. 1 pages. Duration 2:45. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.53€
Spirituals Medley (#1) for brass quartet and piccolo (flute)
Spirituals Medley (#1) for brass quartet and piccolo (flute)
#
Traditional
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Ivan R
#
Spirituals Medley
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Ivan Brand
#
SheetMusicPlus
Brass Ensemble Euphonium,Trombone,Trumpet - SKU: A0.636888 Composed by Traditional. Arranged by Ivan R. Brand. Sacred,Spiritual,Standards,Traditional. S...
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Brass Ensemble Euphonium,Trombone,Trumpet - SKU: A0.636888 Composed by Traditional. Arranged by Ivan R. Brand. Sacred,Spiritual,Standards,Traditional. Score and parts. 20 pages. Ivan Brand #245968. Published by Ivan Brand (A0.636888). This medley is the first in a series of Spiritual Medleys. In each medley, three or more familiar spirituals are nicely reconfigured and linked together in medley format. In this medley, the spirituals include Deep River, Swing Low Sweet Chariot, and Do Lord. The music progresses from a beginning feeling of thoughtful longing in Deep River, and grows continuously to an exuberant final section with Do Lord which celebrates the text I've Got a home in Gloryland! Tambourine and Piccolo (flute) add wonderfully to this joyfuf ending. Your instrumentalists and audiences will very much enjoy this piece. Separate parts are provided for alternate instruments - alto sax (for trombone), and bass guitar (for euphonium). A great alternative configuation for the standard brass quartet consists of 2 trumpets, tenor sax, and bass guitar.
$12.99 ≈
12.12€
We Can Work It Out
We Can Work It Out
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Rock
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The Beatles
#
Ray Thompson
#
We Can Work It Out
#
RayThompsonMusic
#
SheetMusicPlus
Brass Ensemble,Brass Quartet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.771560 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Th...
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Brass Ensemble,Brass Quartet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.771560 By The Beatles. By John Lennon and Paul McCartney. Arranged by Ray Thompson. 20th Century,Pop. Score and parts. 8 pages. RayThompsonMusic #379203. Published by RayThompsonMusic (A0.771560). We Can Work It Out is a song by the English rock band the Beatles, written by Paul McCartneyand John Lennon. It was first issued as a double A-side single with Day Tripper in December 1965. It also appeared on the 1966 US release Yesterday and Today. The release marked the first time in Britain that both tracks on an artist's single were promoted as joint A-sides.The song was recorded during the sessions for the band's Rubber Soul album. The single was number 1 in Britain (where it won the Ivor Novello Award for the top-selling A-side of 1965), the United States, Australia, Canada and Ireland. In the UK, it was the seventh highest selling single of the 1960s. We Can Work It Out is a comparatively rare example of a Lennon–McCartney collaboration from this period in the Beatles' career, in that it recalls the level of collaboration the two songwriters had shared when writing the group's hit singles of 1963. This song, A Day in the Life, Baby, You're a Rich Man and I've Got a Feeling, are among the notable exceptions. Arranged brass quartet: 2 tpt,tbn and tuba Melody is shared amongst 3 treble clef instruments, tuba provides steady bass line. Alt. horn in F part for tbn. Video is the clarinet quartet version.
$14.95 ≈
13.95€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
#
Contemporary
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - 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)
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Celtiberian Landscape For Harp And Orquestra
Celtiberian Landscape For Harp And Orquestra
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Orchestra
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EASY
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Luis Anjos Teixeira
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Celtiberian Landscape For Harp
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Luis Anjos Teixeira
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.889427 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 74 pages. Luis Anjos Teixeir...
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Full Orchestra - Level 2 - SKU: A0.889427 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 74 pages. Luis Anjos Teixeira #4725435. Published by Luis Anjos Teixeira (A0.889427). „Celtiberian Landscape For Harp, Choir and Symphonic Orchestra All the woodwind solo parts and the Horn can be doubled. The chamber option for a minimum number of soloists would be, 1 Flute 1 Oboe 1 English Horn 1 Eb Clarinet 1 Bb Clarinet 1 Fagotte 1 Kontra Fagotte 1 F Horn 2 C Trumpet 2 Trombone 2 Tuba Timbale Bells, „Glockenspiel or Piano Percussion: gong, bass drum, snare, splash, triangle. Harp Celesta or Piano Violin I Violin II Viola Cello DoubleBass DoubleBass Solo Soprano Alto Tenor Bass In this PDF file, for each voice in the score there is an individual part ready to print. Included in this file is also the full score for the choir with individual parts. There is no text to be sung, so in the sense of a vocalizo „oh and „ah can be used „ad lieb by the singers. For the bells there is an extra optional score that could be eventually used by a keyboard instrument. The percussion could be performed by 3 or 4 musicians. It consists of a set of cymbals „G, A and C, a splash or crash, an open triangle, a snare drum, One or 2 Gongs and a bass drum. For each voice in the ensemble score there is an individual part ready to print and an optional standard one. The parts are very easy to perform. The piece is can easily be adjusted to different situations. It is perfect for school ensembles and mixed groups of beginner students and advanced ones. A little story about this piece In my early teens I dreamed in my sleep that I met a very nice gentleman, in a beautiful garden. At the time I did not now that the man in my dream was my „genetic Grandpa himself, I had never seen a picture from him, only many years later after this dream. Now back to the Dream. Grandpa toke me from the garden to a House full of sculptures and art work. There was also a room with 3 great pianos, sat to perform on 3 different stages. Family life size portraits where hanging on a corridor. Another room was full of swords and ancient family weapons. In the end of the dream a dangerous Entity approached the house, Grandpa disappears and I had to leave the place in a hurry without being noticed. I climbed up the house and went hiding on the celling. I could than see a middle aged, middle-Lower class lady coming in the House, she was very stiff, all dressed in black like a widow. It was a very weary feeling, I woke up to never forget this dream. About 20 years later I was in that garden. It was really abandoned and I spend much of my time hanging there, I wrote a lot of music in this garden. I knew about The owner of this garden, he was living not so far away from me. Curious I decided to visit him. He leaved in the house that I dreamed of and he was actually my Father but I did not know that he was my Father and either did he knew about me being his son. He died shortly after we met. His name was Pedro Augusto Franco Dos Anjos Teixeira and my Grandpa was Artur Gaspar Dos Anjos Teixeira. Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Grandpa, Nina and Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Disclaimer: The score was written on Finale and the sound file was p.
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I Got The Feelin' Trombone 1
