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Sonata 4 for two Trumpets
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You've selected:
Sonata 4 for two Trumpets
SheetMusicPlus
Sheetmusic to print
21 sheet music found
<
1
Sonata in F Minor Op. 6 for trumpet duo
Sonata in F Minor Op. 6 for trumpet duo
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2 Trumpets (duet)
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INTERMEDIATE/ADVANCED
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Classical
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J
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Klas Krantz
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Sonata in F Minor Op. 6 for tr
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Amadeus Music
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SheetMusicPlus
Trumpet Duet Trumpet - Level 4 - SKU: A0.532274 Composed by J.B. Boismortier (1696-1765). Arranged by Klas Krantz. Baroque,Classical. Score. 14 pages. A...
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Trumpet Duet Trumpet - Level 4 - SKU: A0.532274 Composed by J.B. Boismortier (1696-1765). Arranged by Klas Krantz. Baroque,Classical. Score. 14 pages. Amadeus Music #4572475. Published by Amadeus Music (A0.532274). For two trumpets. Joseph Bodin de Boismortier (1689 – 1755) was a French baroque composer of instrumental music, cantatas, opéra-ballets, and vocal music. Boismortier was one of the first composers to have no patrons: having obtained a royal license for engraving music in 1724, he made enormou
$6.95 ≈
¥50.31
Liebe, (German for Love), Trumpet Duet
Liebe, (German for Love), Trumpet Duet
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2 Trumpets (duet)
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INTERMEDIATE
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David McKeown
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Liebe,
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David McKeown
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SheetMusicPlus
Trumpet Duet Trumpet - Level 3 - SKU: A0.590475 Composed by David McKeown. Holiday,Love,Wedding,World. Score. 4 pages. David McKeown #6211997. Published...
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Trumpet Duet Trumpet - Level 3 - SKU: A0.590475 Composed by David McKeown. Holiday,Love,Wedding,World. Score. 4 pages. David McKeown #6211997. Published by David McKeown (A0.590475). Liebe, (German for Love), is a beautiful original composition by David McKeown, arranged as a duet for two Trumpets.This duet is inspired by the German Baroque style, particularly the slow compound-time compositions of JS Bach and the canonic sonatas written by GP Telemann. Both composers filled their works with deep emotion, transcending the strict musical rules of the period. Liebe is a Canon, with the first part following the second throughout, one bar behind, like lovers in intimate conversation.Liebe is written for players at an intermediate standard and upwards. The melody should always carry momentum and adding plenty of expression will help convey the style. Liebe has a performance time of around three minutes. Click the link above to hear a full performance the Clarinet version of Liebe on Youtube.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99 ≈
¥28.88
Canzon in Echo Duodecimi toni a 10 for Brass Ensemble
Canzon in Echo Duodecimi toni a 10 for Brass Ensemble
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Brass quartet : 2 trumpets, trombone, tuba
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ADVANCED
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Giovanni Gabrieli
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Fabrizio Bugani
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Canzon in Echo Duodecimi toni
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792809 Composed by Giovanni Gabrieli. Arranged by Fabrizio Bugani. Baroque,Classical,Renai...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792809 Composed by Giovanni Gabrieli. Arranged by Fabrizio Bugani. Baroque,Classical,Renaissance. Score and parts. 57 pages. Gordon Cherry #6623467. Published by Gordon Cherry (A0.792809). Canzon in Echo Duodecimi Toni á 10 was published as part of Gabrieli's Sacre Symphoniae of 1597, a collection of pieces including motets, canzonas, and sonatas for various instrumental groups. Gabrieli used the layout of his musical home, the San Marco Church in Venice with its two choir lofts facing each other, to create the first spatial or antiphonal music for early brass instruments, cornetti, and sackbuts.Maestro Fabrizio Bugani has done a wonderful job of editing this almost 4-minute work for a double brass choir of 10 instruments (two brass quintets). Included are numerous substitute parts which include Trumpets in C, Horns, and Alto Trombones. If one wishes a pure cylindrical choir; that can be achieved by using the Alto Trombones in place of the conical Horns.This edition is appropriate for moderately advanced performers and is pitched in the key of B-flat, down a step from the original.Instrumentation is for double brass quintets of 4 B-flat Trumpets, 2 Horns and 4 Trombones.
$30.00 ≈
¥217.16
Centone I: English Renaissance Madrigals for Brass Quintet
Centone I: English Renaissance Madrigals for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Thomas Weelkes
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Richard Decker
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Centone I: English Renaissance
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817147 Composed by Thomas Weelkes. Arranged by Richard Decker. Chamber,Historic,M...
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817147 Composed by Thomas Weelkes. Arranged by Richard Decker. Chamber,Historic,Multicultural,Renaissance,World. 66 pages. Charles Decker Music Press #4354309. Published by Charles Decker Music Press (A0.817147). A spirited five-movement transcription of elegant vocal works from the late Renaissance by English master Thomas Weelkes. This works well as a recital opener and can be a rewarding musical experience strengthening the bonds between your first-chair brass in your band or orchestra. The edition is scored for two B-flat trumpets with alternate C parts, horn in F, trombone and tuba. For a truly homogeneous ensemble blend of conical-bore brass, substitute cornets or flugelhorns for trumpets and euphonium for trombone. The recording is of the complete edition.See more than 70 mixed brass ensemble publications at Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$18.95 ≈
¥137.17
Sonata XIII for Brass Ensemble by Gabrieli
Sonata XIII for Brass Ensemble by Gabrieli
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE/ADVANCED
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Giovanni Gabrieli
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Jerry Lanning
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Sonata XIII for Brass Ensemble
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Jerry Lanning
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.767755 Composed by Giovanni Gabrieli. Arranged by Jerry Lanning. Baroque,Renaissance. Scor...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.767755 Composed by Giovanni Gabrieli. Arranged by Jerry Lanning. Baroque,Renaissance. Score and parts. 34 pages. Jerry Lanning #3679841. Published by Jerry Lanning (A0.767755). The well-known Sonata XIII by Giovanni Gabrieli, arranged for brass ensemble. There are two antiphonal brass groups, the first is a standard brass quintet and the second comprises trumpet, two horns, trombone and bass trombone.
$14.95 ≈
¥108.22
Centone III Late Renaissance Suite for Brass Quintet
Centone III Late Renaissance Suite for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
#
INTERMEDIATE/ADVANCED
#
Paul Peuerl
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Richard Decker
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Centone III Late Renaissance S
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Charles Decker Music Press
#
SheetMusicPlus
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817184 Composed by Paul Peuerl. Arranged by Richard Decker. Baroque,Chamber,Histo...
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817184 Composed by Paul Peuerl. Arranged by Richard Decker. Baroque,Chamber,Historic,Multicultural,World. 54 pages. Charles Decker Music Press #6748157. Published by Charles Decker Music Press (A0.817184). Paul Peuerl, German composer and organist, was not only instrumental in developing the variation suite of dance movements, but also one of the few German composers in the Late Renaissance to compose Italianate instrumental canzons. Three motets and one canzon make up this engaging Centone. The brass quintet arrangement is scored for two B-flat trumpets with alternate C trumpet parts, horn in F, trombone and tuba. The recording is of the entire edition.See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition. Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini's Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$18.95 ≈
¥137.17
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch.
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - 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 ≈
¥347.10
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Trumpet Duo
Loeillet: Six Sonatas Op. 5 No. 2 Complete for Trumpet Duo
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2 Trumpets (duet)
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EASY
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Jean Baptiste Loeillet of Ghen
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James M
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Loeillet: Six Sonatas Op. 5 No
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jmsgu3
#
SheetMusicPlus
Trumpet Duet Trumpet - Level 2 - SKU: A0.612846 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Conte...
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Trumpet Duet Trumpet - Level 2 - SKU: A0.612846 Composed by Jean Baptiste Loeillet of Ghent (1688 – 1720). Arranged by James M. Guthrie. Baroque,Contest,Festival,Standards,Traditional,Wedding. Score. 59 pages. Jmsgu3 #222042. Published by jmsgu3 (A0.612846). John Baptist Loeillet, a Flemish Baroque composer, wrote six sonatas for flute and basso continuo in his Op. 5 No. 2. This work is widely considered to be some of his most significant compositions, and they are still performed today.The sonatas are divided into three movements each, with two slow movements and one faster one. The flute part is very demanding, as Loeillet often wrote in the high register, and the accompanying basso continuo part provides a solid foundation for the piece. The music has an emotional intensity that was characteristic of the Baroque era, and it features various ornamentations, like trills and mordents. The influence of Corelli can be heard in the contrapuntal textures, and the melodic lines are often based on the scales and modes of the period.Loeillet's Op. 5 No. 2 is a beautiful and captivating work, and its timelessness is a testament to its quality. It has been transcribed and adapted for other instruments, and it remains a popular choice for many classical musicians.Contents:Sonata No. 1 Duration: 9:45 Score: 8 pages 1. Vivace 2. Affetuoso e Poco Vivace 3. Allegro 4. Largo 5. AllegroSonata No. 2 Duration: 16:00, Score: 12 pages 1. La¬rgo 2. Allegro 3. Largo 4. Vivace 5. Vivace 6. Largo 7. GigaSonata No. 3 Duration: 19:20, Score: 14 pages 1. Vivace 2. Largo 3. Gavotto – Allegro 4. Sarabanda 5. Allegro 6. Largo 7. Menuet 8. Giga - AllegroSonata No. 4 Duration: 11:08, Score: 10 pages 1. Vivace 2. Gavott 3. Largo 4. Allegro 5. Sarabanda - Largo 6. AllegroSonata No. 5 Duration: 7:49, Score: 7 pages 1. Largo 2. Allegro 3. Largo 4. GavottSonata No. 6 Duration: 9:42, Score: 8 pages 1. Andante 2. Adagio 3. Allegro 1 4. Allegro 2.
$74.95 ≈
¥542.55
Centone V: Four Madrigals for Brass Quintet
Centone V: Four Madrigals for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Classical
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Claudio Monteverdi
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Richard Decker
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Centone V: Four Madrigals for
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1139644 Composed by Claudio Monteverdi. Arranged by Richard Decker. ...
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Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1139644 Composed by Claudio Monteverdi. Arranged by Richard Decker. Baroque,Chamber,Multicultural,Renaissance,World. 55 pages. Charles Decker Music Press #739914. Published by Charles Decker Music Press (A0.1139644). As one of the most creative composers leading the musical changes from the Renaissance into the Baroque, Claudio Monteverdi instilled into his noteworthy Madrigals not only the contemporary explorations of dissonance and form but also mastered the art of tone-painting of human emotions to an extraordinary level. Scored for a brass quintet of two B-flat trumpet with alternate C trumpet parts, horn in F with substitute flugelhorn part, trombone and tuba, these Madrigal arrangements provide an additional unique opportunity for performances using all conical brass instruments (two B-flat cornets, horn, euphonium and tuba). These spirited Madrigals showcase all the quintet members and will add excitement and drama to performances. See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$17.99 ≈
¥130.23
Mozart: Requiem in D Minor K626 III.Sequenz No.4 Recordare - brass quintet
Mozart: Requiem in D Minor K626 III.Sequenz No.4 Recordare - brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Classical
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D Minor K62
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RayThompsonMusic
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1110352 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 21 pag...
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Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1110352 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 21 pages. RayThompsonMusic #712690. Published by RayThompsonMusic (A0.1110352). Arranged standard brass quintet. Alt alto hn in Eb provided for Horn, and Euphonium in Treble Clef for trombone. The music has been spread throughout, to avoid a constant tutti! Using A euphonium instead of a trombone will give a smoother sound! The Requiem in D minor, K. 626, is a requiem mass by Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna at the age of 20 on 14 February 1791. This is no 4 of the Sequenz Recordare At 130 measures, the Recordare (Remember) is the work's longest movement, as well as the first in triple meter the movement is a setting of no fewer than seven stanzas of the Dies irae. The form of this piece is somewhat similar to sonata form, with an exposition around two themes (mm. 1–37), a development of two themes (mm. 38–92) and a recapitulation (mm. 93–98). It suits the brass quintet. Section III of the requiem is titled “Sequenz” (sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa. I have also arranged Mozarts Motet “Ave Verum Corpus” K618.
$4.95 ≈
¥35.83
Centone II German Baroque Dances for Brass Quintet
Centone II German Baroque Dances for Brass Quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Andreas Hammerschmidt
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Richard Decker
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Centone II German Baroque Danc
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817182 Composed by Andreas Hammerschmidt. Arranged by Richard Decker. Baroque,Cha...
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Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.817182 Composed by Andreas Hammerschmidt. Arranged by Richard Decker. Baroque,Chamber,Multicultural,World. 69 pages. Charles Decker Music Press #6711831. Published by Charles Decker Music Press (A0.817182). A contemporary of the famous Heinrich Schütz, Andreas Hammerschmidt was a prolific composer of both German church and instrumental music in the mid-17th century. Taken from two of his instrumental collections written between 1636-1639, this eclectic Baroque Dance Suite (Paduan, Aria, Galliard, Courente, Mascharada) written in the tradition of English influenced suites from northern and central Germany provides plenty of solo lines for all of the players. If you are looking for that early music option for your recital program Centone II will give your program a dynamic start. The edition is arranged for a brass quintet of two B-flat trumpets with alternate C trumpet parts, horn in F, trombone and tuba. A recording of the complete edition is included.See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition. Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$18.95 ≈
¥137.17
Funeral March (Trumpet Duet)
Funeral March (Trumpet Duet)
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2 Trumpets (duet)
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INTERMEDIATE
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Classical
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Frederic Chopin
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B
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Funeral March
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Ben Dockery
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SheetMusicPlus
Trumpet Duet Trumpet - Level 3 - SKU: A0.1241990 Composed by Frederic Chopin. Arranged by B. C. Dockery. 19th Century,Children,Classical,March,Romantic ...
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Trumpet Duet Trumpet - Level 3 - SKU: A0.1241990 Composed by Frederic Chopin. Arranged by B. C. Dockery. 19th Century,Children,Classical,March,Romantic Period. Score. 4 pages. Ben Dockery #837352. Published by Ben Dockery (A0.1241990). From the third movement of Chopin's Sonata No. 2 in B-flat Minor, this is the Funeral March arranged for two B-flat trumpets. Great for lessons, recitals, somber occasions, or even as a practical joke on someone's birthday. Intermediate level. Includes score and parts.
$3.99 ≈
¥28.88
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
¥347.10
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trumpet, Trombone (duet)
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EASY
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
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SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Fes...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - 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 ≈
¥347.10
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. 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, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
¥347.10
BACH: Trio Sonata No. 5 BWV 529 for Brass Trio
BACH: Trio Sonata No. 5 BWV 529 for Brass Trio
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Brass ensemble
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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James M
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BACH: Trio Sonata No. 5 BWV 52
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jmsgu3
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.552680 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. Score and ...
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Brass Ensemble - Level 4 - SKU: A0.552680 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. Score and parts. 65 pages. Jmsgu3 #6508475. Published by jmsgu3 (A0.552680). Brass Trio: 2 Trumpets in C, 1 Bass Trombone. Duration: ca. 12:20, Score: 37 pagesJ.S. Bach's Trio Sonatas BWV 525-530 are some of the most popular and beloved works of the Baroque period. Composed in 1717, these six trio sonatas for the organ are among Bach's earliest works for the instrument. They are all in the traditional three-movement form and are composed in the style of the Italian concerto grosso, with two upper voices (treble and alto) and a basso continuo. The two upper voices often intertwine in intricate contrapuntal melodies, while the basso continuo provides harmonic support. The works are also full of virtuosic passages that demonstrate Bach's mastery of the organ. The Trio Sonatas are considered to be among the most important and influential works of the Baroque era, and they continue to be widely performed and studied today.The Bach Trio Sonatas have been successfully transcribed for a variety of ensembles, including wind, string, and brass ensembles. The parts are easily divided among a variety of wind instruments, including flute, oboe, clarinet, bassoon, and saxophone. In these transcriptions, the original material is retained, but often with some additional orchestration or embellishment. These transcriptions often emphasize the polyphonic texture of the original works, creating a rich soundscape. The Sonatas have also been successfully adapted for a variety of string ensembles. In these versions, the original two-part texture with the basso is maintained, creating a full and satisfying sound that allows for a more nuanced interpretation of the works. In addition, these transcriptions often add a variety of dynamic markings and articulations that were not present in the original editions. These transcriptions provide performers with a variety of options for interpreting and performing these beloved works.
$32.95 ≈
¥238.52
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least 2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
¥347.10
Allegro from Sonata Sancti Polycarpi for Trumpet Ensemble
Allegro from Sonata Sancti Polycarpi for Trumpet Ensemble
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Trumpet ensemble
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INTERMEDIATE/ADVANCED
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Heinrich Biber
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Charles Decker
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Allegro from Sonata Sancti Pol
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Charles Decker Music Press
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SheetMusicPlus
Piccolo Trumpet - Level 4 - SKU: A0.817113 Composed by Heinrich Biber. Arranged by Charles Decker. Baroque,Chamber,Historic,Instructional. 26 pages. Cha...
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Piccolo Trumpet - Level 4 - SKU: A0.817113 Composed by Heinrich Biber. Arranged by Charles Decker. Baroque,Chamber,Historic,Instructional. 26 pages. Charles Decker Music Press #3542437. Published by Charles Decker Music Press (A0.817113). Want to feature two piccolo trumpeter soloists with your trumpet ensemble on an accessible work for students? This movement from the famous baroque sonata will impress audiences with its two antiphonal quartets, each led impressively by solo piccolo trumpeters exchanging increasingly complex ornamented phrases as musical and technical challenges. The two solo parts are very playable on mezzo-soprano B-flat trumpets but using B-flat piccolo trumpets creates extra sparkle. The audio file is an actual performance by a trumpet ensemble and not a computer playback of the score.See 50+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 mixed brass ensemble publications at Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition. Use this link to Kendor Music for more Charles Decker trumpet ensemble arrangements of music by J.S. Bach, Handel, and Renaissance composers Gervaise and Susato.
$8.95 ≈
¥64.79
Sea Drift for Brass Octet
Sea Drift for Brass Octet
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Samuel Coleridge-Taylor
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Richard Decker
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Sea Drift for Brass Octet
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Charles Decker Music Press
#
SheetMusicPlus
Brass Ensemble Bass Trombone,Euphonium,Flugelhorn,Trumpet,Tuba - Level 4 - SKU: A0.1197023 Composed by Samuel Coleridge-Taylor. Arranged by Richard Deck...
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Brass Ensemble Bass Trombone,Euphonium,Flugelhorn,Trumpet,Tuba - Level 4 - SKU: A0.1197023 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Chamber,Contest,Festival,Historic,Multicultural,World. 50 pages. Charles Decker Music Press #796180. Published by Charles Decker Music Press (A0.1197023). This brass octet arrangement of Coleridge-Taylor's Sea Drift captures the subtle textures of the composer’s chromatic harmonies inspired in his original vocal octet setting of a poem by T. B. Aldrich. Born of an African father, Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. One of Coleridge-Taylor's rare A Cappella compositions for vocal SATB double choir here arranged for mixed brass octet, Sea Drift is infused with descriptive tone-color painting highlighting the tragic story of the merchant sailor who perishes in a stormy sea to the despair of his lover onshore. The arrangement is scored for eight brass with alternate parts - three B-flat trumpets with alternate C trumpet parts , two F horns with alternate flugelhorn parts, two trombones with an alternate horn part for trombone 1, and tuba. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!” Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.” Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series” in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$18.95 ≈
¥137.17
Allegro - Score Only
Allegro - Score Only
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Classical
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Solo Trumpet Player
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ed
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Allegro - Score Only
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Peet du Toit
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SheetMusicPlus
Brass Quintet - Level 3 - SKU: A0.1372446 By Solo Trumpet Player. By Franz Schubert. Arranged by ed. W Beeler & orchestration by Peet du Toit. Classical...
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Brass Quintet - Level 3 - SKU: A0.1372446 By Solo Trumpet Player. By Franz Schubert. Arranged by ed. W Beeler & orchestration by Peet du Toit. Classical. 4 pages. Peet du Toit #956746. Published by Peet du Toit (A0.1372446). Franz Peter Schubert (German: [fʁants ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music. His major works include the art songs Erlkönig, Gretchen am Spinnrade, Ave Maria; the Trout Quintet, the unfinished Symphony No. 8 in B minor, the Great Symphony No. 9 in C major, the String Quartet No. 14 Death and the Maiden, a String Quintet, the two sets of Impromptus for solo piano, the three last piano sonatas, the Fantasia in F minor for piano four hands, the opera Fierrabras, the incidental music to the play Rosamunde, and the song cycles Die schöne Müllerin, Winterreise and Schwanengesang.Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed.
$17.00 ≈
¥123.06
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Sonata 4 for two Trumpets
