Brass Ensemble Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.723989 Composed by Gasparini Quirino. Arranged by Renato Tagliabue. Christian,Classical,Easter,Sacred. Score and parts. 7 pages. Renato Tagliabue #3415881. Published by Renato Tagliabue (A0.723989). Mozart copied the motet Adoramus te by Gasparini, whom he met in Turin in 1771. He was included in the Köchelverzeichnis under KV 327 Anh. A. 10. The Gasparini work was assigned in 1922 by the director of the Salzburg cathedral, Hermann Spies.Video on Youtube: (Here for Choir SATB)https://www.youtube.com/watch?v=op1g4pn2JBU

Brass Quartet - Grade 3 - Digital Download SKU: DX.145404 Composed by Willaim Walker. Arranged by Monty J. Budahl. Sacred instrumental music. Sheet Music. Traditional. Score and parts. 16 pages. David E. Smith - Digital Sheet Music #145404. Published by David E. Smith - Digital Sheet Music (DX.145404). A brass quartet for two trumpets, horn, trombone/baritone (BC & TC) in cut-time. The introduction is based on thematic material in a Q&A format between the trumpet and trombone. The style is in a spritely march galop giving an never-ending sense of motion. The second section passes the motives between parts giving continued activity leading up to a transition and modulation. The third section is simple but expansive until it settles down to a sense of destination and then a quick conclusion.

Brass Quartet - Grade 3 - Digital Download SKU: DX.145432 Composed by Sabine Baring-Gould. Traditional. Sheet Music. Sacred instrumental music. Score and Parts. 13 pages. David E. Smith - Digital Sheet Music #145432. Published by David E. Smith - Digital Sheet Music (DX.145432). An accompanied brass quartet for two trumpets with opt. horn and BHTC with piano. The opening is a fanfare with resolve. The first rendition of the tune is passed between parts in a somewhat hocket fashion where it continues throughout. The second section is more chordal with the accompaniment more march and fanfare like. Then a brief transition in the piano only is joined by the brass in a cascading series of entrances. Then the brass join the piano in a Q/A transition leading into a choral presentation of the theme. After a motivic interplay of the brass the piece concludes in an augmented statement in the brass.