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Solo for Bass Trombone 2
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You've selected:
Solo for Bass Trombone 2
Sheetmusic to print
3,125 sheet music found
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3101
Solo for Bass Trombone 2
Solo for Bass Trombone 2
#
Trombone and Piano
#
INTERMEDIATE
#
Ernie E Biggs
#
Solo for Bass Trombone 2
#
Ernie E Biggs
#
SheetMusicPlus
Piano,Trombone - Level 3 - Digital Download SKU: A0.1282765 By Ernie E Biggs. By Ernie E Biggs. Contest,Festival,Instructional. Score and part. 11 pages....
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Piano,Trombone - Level 3 - Digital Download SKU: A0.1282765 By Ernie E Biggs. By Ernie E Biggs. Contest,Festival,Instructional. Score and part. 11 pages. Ernie E Biggs #874005. Published by Ernie E Biggs (A0.1282765). The second of my bass trombone solos. This one is for medium advanced players.
$15.00 ≈
13.43€
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
#
Trumpet, Trombone (duet)
#
EASY
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte,
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jmsgu3
#
SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
42.94€
Four Rags for Bass Trombone and Piano
Four Rags for Bass Trombone and Piano
#
Bass Trombone and Piano
#
ADVANCED
#
Ragtime
#
Scott Joplin
#
Ralph Sauer
#
Four Rags for Bass Trombone an
#
Gordon Cherry
#
SheetMusicPlus
Bass Trombone,Instrumental Solo,Piano - Level 5 - Digital Download SKU: A0.811196 Composed by Scott Joplin. Arranged by Ralph Sauer. Blues,Jazz,Ragtime. ...
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Bass Trombone,Instrumental Solo,Piano - Level 5 - Digital Download SKU: A0.811196 Composed by Scott Joplin. Arranged by Ralph Sauer. Blues,Jazz,Ragtime. Score and individual part. 24 pages. Gordon Cherry #6118435. Published by Gordon Cherry (A0.811196). Ralph Sauer has brilliantly arranged Four Rags for BassTrombone and Piano by the great American King of Ragtime, Scott Joplin. They are:1. The Entertainer, 2. Reflection Rag, 3. Pleasant Moments, and 4. The CascadesThese works are so pleasant to perform and to listen to. They are appropriate for advanced performers and include about 15 minutes of music.
$22.50 ≈
20.15€
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
#
Brass Quartet: 2 trumpets, horn, trombone
#
INTERMEDIATE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzona in Echo Ch.
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, 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 ≈
42.94€
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
#
Trumpet, Trombone (duet)
#
EASY
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest...
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst 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 WorksGabrieli 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 MusicAbove 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 WorksFinally, 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.HomophonyHence, 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 ≈
42.94€
Sullivan: The Lost Chord for Bassoon & Piano
Sullivan: The Lost Chord for Bassoon & Piano
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2 Bassoons (duet)
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INTERMEDIATE/ADVANCED
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for B
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jmsgu3
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SheetMusicPlus
Instrumental Duet Bassoon,Instrumental Duet - Level 4 - Digital Download SKU: A0.549452 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Gut...
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Instrumental Duet Bassoon,Instrumental Duet - Level 4 - Digital Download SKU: A0.549452 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and parts. 15 pages. Jmsgu3 #3497185. Published by jmsgu3 (A0.549452). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95 ≈
24.14€
Sullivan: The Lost Chord for Bass Clarinet & Piano
Sullivan: The Lost Chord for Bass Clarinet & Piano
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Bass Clarinet, Piano
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INTERMEDIATE/ADVANCED
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for B
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jmsgu3
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SheetMusicPlus
Bass Clarinet,Piano - Level 4 - Digital Download SKU: A0.549451 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instruction...
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Bass Clarinet,Piano - Level 4 - Digital Download SKU: A0.549451 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497171. Published by jmsgu3 (A0.549451). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95 ≈
24.14€
RACONTEUR (The Storyteller) - Trombone 2
RACONTEUR (The Storyteller) - Trombone 2
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Trombone (band part)
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INTERMEDIATE
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Christopher Burnett
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RACONTEUR
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BurnettPublishing.COM
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPubl...
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457579. Published by BurnettPublishing.COM (A0.954012). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
3.57€
STAR TREK theme - trombone solo performance (To boldly go...) \| Posaune
STAR TREK theme - trombone solo performance (To boldly go...) \| Posaune
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Trombone
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INTERMEDIATE
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Film/TV
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Michael Giacchino, Alexander
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Sophia Johanna Transistor
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STAR TREK theme - trombone sol
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Sophia Transistor
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SheetMusicPlus
Trombone - Intermediate - Digital Download By Michael Giacchino, Alexander Courage, Gene Roddenberry. Arranged by Sophia Johanna Transistor. Score, S...
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Trombone - Intermediate - Digital Download By Michael Giacchino, Alexander Courage, Gene Roddenberry. Arranged by Sophia Johanna Transistor. Score, Solo Part. 5 pages. Published by Sophia Transistor
Epic famous film music STAR TREK theme "To Boldly Go and End Credits" arranged for single trombone solo performance (or any instrument notated in bass clef in C).
A symphonic suite arranged for slide-trombone instrumentation. Originally I started to play the trombone because of Commander William T. Riker.
This piece by Michael Giacchino contains portions of the TV Theme by Alexander Courage and Gene Roddenberry. Therefore it is like an epic medley of many familiar symphonic Star Trek tunes as we all love them.
It has been adapted specifically for trombone / t-bone brass players. Breething signs and spaces are included. Special slide positions and slide effects are notated as well.
Total play time is approximately 7 minutes and 43 seconds
but there is an option to end the piece in front of the interlude at time 2 min 42 sec at the same bar where the official HalLeonard piano arrangement of "to boldly go" ends:
https://www.sheetmusicplus.com/title/to-boldly-go-digital-sheet-music/19455787
After that, the music gets a little bit darker and string-dominated. These parts have been changed or excluded to make it a solid brasswind only Star Trek performance.
Score is available in C in bass clef with 5 pages in DIN-A4 format.
Major high notes that are the climax of a tension bow sometimes end on a high: ringing Ab''
There is even a High Db''' for the very ambitious trombone player (but the higher notes are also notated one octave lower).
Thanks!
$6.99 ≈
6.26€
Saint-Saëns (Saint Saens) Cavatine for Trombone and Orchestra
Saint-Saëns (Saint Saens) Cavatine for Trombone and Orchestra
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Trombone and Orchestra
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ADVANCED
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Classical
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Saint-Saëns
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Coy, Benjamin
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Saint-Saëns
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Cherry Classics Music
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SheetMusicPlus
Trombone and Orchestra - Advanced - Digital Download Composed by Saint-Saëns (Saint Saens), Camille. Arranged by Coy, Benjamin. Romantic Period. S...
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Trombone and Orchestra - Advanced - Digital Download Composed by Saint-Saëns (Saint Saens), Camille. Arranged by Coy, Benjamin. Romantic Period. Score, Set of Parts, Solo Part. 79 pages. Published by Cherry Classics Music
Cavatine, Opus 144 is a true Romantic solo work for the Trombone. This arrangement for full orchestra by Benjamin Coy is a pleasure to perform with its sweeping, majestic phrases, sweet and elegant middle section and dramatic conclusion.For advanced performers, the 6-minute work is a great showpiece to feature your Trombone soloist.Instrumentation:Solo Trombone, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons2 Horns, 2 Trumpets in B-flat, 3 Trombones, Tuba, Timpani, PercussionStrings and Full Score.
$125.00 ≈
111.95€
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
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Bass Trombone
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EASY
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Classical
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Johannes Brahms
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Rika K
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Hungarian Dance No. 5 by Brahm
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Rika K.
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SheetMusicPlus
Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1402484 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Peri...
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Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1402484 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Period,Traditional. Individual part. 1 pages. Rika K. #985702. Published by Rika K. (A0.1402484). We present the sheet music for the arrangement of Johannes Brahms’ Hungarian Dance No. 5, adapted for Bass Trombone Solo.This piece, one of Brahms’ most popular, was inspired by the Hungarian folk dance Czárdás. It has now been simplified to cater to a variety of musicians and settings. Ideal for music teachers looking for enriching teaching material, parents wishing to introduce their children to this classic repertoire, or professional musicians looking for a practical piece for quick performances. This arrangement is also perfect for academic recitals or public events. Take this opportunity to delve into the rich history of classical music and experience the joy of playing a work by one of the world’s greatest composers.Don’t miss the chance to add this essential sheet music to your musical collection. Get your arrangement of Hungarian Dance No. 5 now!
$1.99 ≈
1.78€
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
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Bass Trombone
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EASY
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Classical
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Johannes Brahms
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Rika K
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Hungarian Dance No. 5 by Brahm
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Rika K.
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SheetMusicPlus
Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1402485 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Peri...
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Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1402485 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Period,Traditional. Individual part. 1 pages. Rika K. #985703. Published by Rika K. (A0.1402485). We present the sheet music for the arrangement of Johannes Brahms’ Hungarian Dance No. 5, adapted for Bass Trombone Solo.This piece, one of Brahms’ most popular, was inspired by the Hungarian folk dance Czárdás. It has now been simplified to cater to a variety of musicians and settings. Ideal for music teachers looking for enriching teaching material, parents wishing to introduce their children to this classic repertoire, or professional musicians looking for a practical piece for quick performances. This arrangement is also perfect for academic recitals or public events. Take this opportunity to delve into the rich history of classical music and experience the joy of playing a work by one of the world’s greatest composers.Don’t miss the chance to add this essential sheet music to your musical collection. Get your arrangement of Hungarian Dance No. 5 now!
$1.99 ≈
1.78€
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo
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Bass Trombone
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EASY
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Classical
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Johannes Brahms
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Rika K
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Hungarian Dance No. 5 by Brahm
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Rika K.
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SheetMusicPlus
Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1311345 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Peri...
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Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1311345 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Period,Traditional. Individual part. 1 pages. Rika K. #900348. Published by Rika K. (A0.1311345). We present the sheet music for the arrangement of Johannes Brahms’ Hungarian Dance No. 5, adapted for Bass Trombone Solo. This piece, one of Brahms’ most popular, was inspired by the Hungarian folk dance Czárdás. It has now been simplified to cater to a variety of musicians and settings. Ideal for music teachers seeking enriching teaching material, parents wishing to introduce their children to this classic repertoire, or professional musicians looking for a practical piece for quick performances. This arrangement is also perfect for academic recitals or public events. Take this opportunity to delve into the rich history of classical music and experience the joy of playing a work by one of the world’s greatest composers. Don’t miss the chance to add this essential sheet music to your musical collection. Get your arrangement of Hungarian Dance No. 5 now!
$1.99 ≈
1.78€
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo with Chords
Hungarian Dance No. 5 by Brahms for Bass Trombone Solo with Chords
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Bass Trombone
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EASY
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Classical
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Johannes Brahms
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Rika K
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Hungarian Dance No. 5 by Brahm
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Rika K.
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SheetMusicPlus
Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1311344 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Peri...
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Bass Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1311344 Composed by Johannes Brahms. Arranged by Rika K. 19th Century,Folk,Romantic Period,Traditional. Individual part. 1 pages. Rika K. #900347. Published by Rika K. (A0.1311344). We present the sheet music for the arrangement of Johannes Brahms’ Hungarian Dance No. 5, adapted for Bass Trombone Solo with Chords. This piece, one of Brahms’ most popular, was inspired by the Hungarian folk dance Czárdás. It has now been simplified to cater to a variety of musicians and settings. Ideal for music teachers seeking enriching teaching material, parents wishing to introduce their children to this classic repertoire, or professional musicians looking for a practical piece for quick performances. This arrangement is also perfect for academic recitals or public events. Take this opportunity to delve into the rich history of classical music and experience the joy of playing a work by one of the world’s greatest composers. Don’t miss the chance to add this essential sheet music to your musical collection. Get your arrangement of Hungarian Dance No. 5 now!
$1.99 ≈
1.78€
Schumann: Abendlied for Bass Trombone & Piano
Schumann: Abendlied for Bass Trombone & Piano
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Bass Trombone and Piano
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EASY
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Robert Schumann
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James M
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Schumann: Abendlied for Bass T
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jmsgu3
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SheetMusicPlus
Bass Trombone,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549040 Composed by Robert Schumann. Arranged by James M. Guthrie, ASCAP. Conce...
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Bass Trombone,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549040 Composed by Robert Schumann. Arranged by James M. Guthrie, ASCAP. Concert,Holiday,Romantic Period,Sacred,Standards. Score and individual part. 6 pages. Jmsgu3 #3448161. Published by jmsgu3 (A0.549040). Op. 85/12 Bass Trombone: Abendlied (Evening Song) by Robert Schumann Op. 85, No. 12. Duration: 3:10 Score: 3 pg. 29 ms. common time. Lento – quarter note = 40. Piano part: 2 pg. solo part 1 pg.
$26.95 ≈
24.14€
Schumann: Träumerei Op. 15 No. 7 for Bass Trombone & Piano
Schumann: Träumerei Op. 15 No. 7 for Bass Trombone & Piano
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Bass Trombone and Piano
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INTERMEDIATE
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Robert Schumann
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James M
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Schumann: Träumerei Op. 15 No
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jmsgu3
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SheetMusicPlus
Bass Trombone,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.550191 Composed by Robert Schumann. Arranged by James M. Guthrie. Concert,Holi...
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Bass Trombone,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.550191 Composed by Robert Schumann. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards. Score and individual part. 5 pages. Jmsgu3 #4598373. Published by jmsgu3 (A0.550191). Op. 15 No. 7 Träumerei * Daydreaming * мечтательноÑÑ‚ÑŒ * αφηÏημάδα * snÄ›nà Duration ca. 2:38 An unexpected and welcome recital encore.
$24.95 ≈
22.34€
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Contrabass
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Contrabass
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Double Bass
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ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Strings
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018941 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 ...
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Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018941 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072983. Published by Benjamin Sajo (A0.1018941). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50 ≈
3.13€
Variations on Palestrina’s “Dona Nobis Pacem” for unaccompanied Tenor Trombone
Variations on Palestrina’s “Dona Nobis Pacem” for unaccompanied Tenor Trombone
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Trombone
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ADVANCED
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David Fetter
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Variations on Palestrina’s
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Gordon Cherry
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SheetMusicPlus
Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1492095 Composed by David Fetter. 20th Century. Individual part. 2 pages. Gordon Cherry...
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Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1492095 Composed by David Fetter. 20th Century. Individual part. 2 pages. Gordon Cherry #1068768. Published by Gordon Cherry (A0.1492095). Dona Nobis Pacem (Give Us Peace) is a short three verse round that has been attributed to Palestrina. David Fetter has beautifully composed a set of Variations on the beautiful main theme for unaccompanied Tenor Trombone.This 4-5 minute work is appropriate for advanced performers. There is also a version of this work for Bass Trombone.
$17.50 ≈
15.67€
THE BIG HORN Set of Three Solos
THE BIG HORN Set of Three Solos
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Bass Trombone and Piano
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INTERMEDIATE/ADVANCED
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Ernie E Biggs
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THE BIG HORN Set of Three Solo
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Ernie E Biggs
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SheetMusicPlus
Bass Trombone,Piano - Level 4 - Digital Download SKU: A0.1293593 By Ernie E Biggs. By Ernie E Biggs. Contest,Festival,Instructional. Score and part. 30 p...
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Bass Trombone,Piano - Level 4 - Digital Download SKU: A0.1293593 By Ernie E Biggs. By Ernie E Biggs. Contest,Festival,Instructional. Score and part. 30 pages. Ernie E Biggs #884063. Published by Ernie E Biggs (A0.1293593). This is a set of three solos in my series of bass trombone solos. It is an intermediate level plus set with piece(s) that are playable by even new bass trombone musicians through to the more advanced. Ranges form approximately a 2 1/2, 3 to a 4+ level. Just enough to show off your bass trombone skills. Includes the new solo etude for bass trombone.Offered at a nice savings over the induvidual charts seperately. Check each title for a sound clip.
$30.00 ≈
26.87€
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publish...
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Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95 ≈
23.24€
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Solo for Bass Trombone 2
