Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782276 Composed by Anton Bruckner. Arranged by James Haynor. Praise & Worship,Romantic Period,Sacred. Score and parts. 12 pages. James Haynor #4368600. Published by James Haynor (A0.782276). Josef Anton Bruckner (4 September 1824 – 11 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. Ave Maria (Hail Mary), WAB 6, is a sacred motet, a setting of the Latin prayer Ave Maria. He composed it in Linz in 1861 and scored the short work in F major for seven unaccompanied voices. Here arranged for three trumpets and four trombones. ( Duration 3:28 )

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.883411 Composed by Daniel Dade. Contemporary. Score and parts. 47 pages. Daniel Dade #3876473. Published by Daniel Dade (A0.883411). Rhapsody for Brass Quintet is a piece in five movements which can also be played as one continuous sequence, lasting approximately 8 minutes. Written in early 2017, the Rhapsody opens with a somber horn call echoed throughout the ensemble in the first movement, Lament. Moving into the second movement, The Dance, the ensemble begins with a bouncy 5/8 rhythmic pulse, enthusiastically switching between simple and compound meter. In a stark contrast to the second movement, the third movement, A Certain Kind of Hymn, juxtaposes the emotion felt in The Dance with its slow-paced 6/8 chorale in (mostly) four voices. The fourth movement, the Ill-Tempered Fanfare is a departure from the previous movements with its aggressive duple meter and walls of sound. The final movement, Red Tango begins with a groove in the tuba, soon after joined by the trombone. Eventually the groove bursts into a complex dance, closed out by a slick glissando in the trombone.

Brass Quartet - Level 2 - Digital Download SKU: A0.1257202 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850533. Published by jmsgu3 (A0.1257202). INSTRUMENTATION: Cornet, French Horn & 2 Trombones 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass.   Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century.   The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period.  Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

Brass Quartet - Level 2 - Digital Download SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851281. Published by jmsgu3 (A0.1258043). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.767367 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 58 pages. Lyons Music Services #3548869. Published by Lyons Music Services (A0.767367). At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.In Amor che deggio far, the poet is pleading with his love for constancy. he feels she doesn't love him enough to be his lover forever.This is one of the longer poems set in the seventh book and has a variety of musical forms within it. It begins with an opening statment of the 3 ritornelli that will reappear after each solo, duet, trio or quartet from the soloists. In this way, the composer prepares the listener for what will come and it will therefore be familiar and recognisable in the context of the song.This ia also one of the most demanding songs in the book. It requires a set of four solo singers (Trumpet/Horn/Trombone/Tuba) a pair of obbligato violins (Eb trumpet and Bb trumpet) and a string+ keyboard continuo part (Trumpet/Horn/Euphonium/Tuba) making 10 instruments in all. I had to use an Eb trumpet as the range of the obbligato is quite adventurous for the period and covers some of the clarino range that was to become popular in the High Baroque.At 5 minutes in length, this is a great finisher for either hafl of a concert, especially as Monteverdi has reserved use of all the instruments/voices until the very end, creating a rousing finish.The seventh book continues to be a challenge. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)Once again, this song is exquisitely crafted and travels well onto brass.

Brass quartet - Grade 3 - Digital Download SKU: DX.FGB412 Composed by Jennie E. Hussey. Arranged by Frank Garlock. Easter. Sacred instrumental music. Score and parts. 9 pages. David E. Smith - Digital Sheet Music #FGB412. Published by David E. Smith - Digital Sheet Music (DX.FGB412). SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC) The pieces starts out immediately in the nature of the original hymn in four part harmony. The next section is slower and very expressive with harmonic movement in all the parts, followed by the melody in the lower voices and a counter line in the trumpets. The final section is alla marcia growing to a final codetta that is strong in confidence and then relaxes into repose.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.829530 Composed by Friedrich von Flotow. Arranged by Bud Caputo. Opera,Romantic Period,Standards. Score and parts. 17 pages. Bud Caputo #6248313. Published by Bud Caputo (A0.829530). Martha, oder Der Markt zu Richmond ( Martha, or The Market at Richmond) is a romantic comic opera in four acts by Friedrich von Flotow and based on a story by Jules-Henri Vernoy de Saint-Georges . The beautiful aria Martha is located in the third act. The melodic material is shared among all the voices in this arrangement.  All ranges remain comfortable for younger players.A tromboone/substitue for horn part, is included.

Brass Quartet Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1470691 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Christian,Praise & Worship,Religious. 5 pages. Rodrigo Faleiros #1048189. Published by Rodrigo Faleiros (A0.1470691). ---'---'---'---'---'---'---'---'---'---'---'---'---'This arrangement of Bach's Choral from Cantata BWV 77 for Brass quartet preserves the integrity and beauty of the original harmonization while adapting it for a different ensemble. Each of the four Brass instruments — two trumpets, trombone and tuba — takes on one of the vocal lines, allowing the rich textures and intricate voice leading to shine through in a new timbral context. The arrangement maintains the Choral's straightforward structure, making it accessible yet deeply expressive, and highlights the individual voices while creating a cohesive, resonant sound that captures the essence of Bach's masterful composition.Key Features:- For Brass Quartet - two trumpets in Bb, trombone and tuba?? Check out my other arrangements clicking here! ??'---'---'---'---'---'---'---'---'---'---'---'---'---'.