Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1270625 Composed by Blue Apollo Music. 20th Century,21st Century,Chamber,Classical,New Age. 28 pages. George Henry Williams III #862998. Published by George Henry Williams III (A0.1270625). The song begins with a steady rhythm, mimicking the waves of the ocean. The melody flows with the waves, mimicking the sway of the ship. The Brass Quintet creates a powerful and dramatic sound that matches the intensity of the situation. The climax of the song is marked by a triumphant horn and trumpet, signifying the ship's eventual victory over the current. Overall, the instrumental piece is a beautiful and emotional tribute to the perseverance of sailors facing difficult challenges on the open sea.

Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.�The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session� the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam� Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues� was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues� was one of his nightly features with Satch’s ensemble along with “Tea for Two.� Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,� etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,� featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1323071 Composed by William Billings. Arranged by Nathaniel Hontz. Advent,Christmas,Early Music,Holiday,Sacred. 18 pages. TigerSong LLC #911345. Published by TigerSong LLC (A0.1323071). Early American composer William Billings utilizes the same Christmas text Methinks I hear a Heavenly Host for both his tunes Shiloh and Boston. Shiloh, is a lively tune, alternating between 4/4 time for the verse and 3/2 time for the chorus. This arrangement for brass quintet presents three iterations. The first places the melody in the horn, mimicking the early American proclivity for placing the melody in the tenor voice and a counter line in the soprano voice. The second iteration is a multi-part canon between the trumpets, the low brass, and the horn. The final recapitulation restates the carol, this time with the melody in the first trumpet to soar above the other parts. The iterations can be played individually or together.

Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1158390 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary,Historic. 34 pages. Https://gildedmusicpress.com/ #758671. Published by https://gildedmusicpress.com/ (A0.1158390). “Pony Express Trail� is the fourth substantial composition in a masterful series of “American Trails� for brass quintet. This piece commemorates the 160th year of the astounding system of stations and riders that was ingeniously devised to quickly deliver mail and other communications from America’s Missouri River frontier to the rapidly growing western territories. The music in this 4½-minute work is rambunctious, rhythmically unpredictable, and yet extremely exciting and listenable to the average audience member. The use of three woodblocks as the only percussion allude strongly to the clopping whirl of horses’ hooves, though not in a rhythmically mimicking manner. The opening motifs immediately develop into a manic ride across the Wild West, and lay the groundwork for all melodic content. These simple motifs smack of cowboy music, subtly borrowed from the movie theme to “Magnificent Seven� composed by Elmer Bernstein. Other influences for this piece include Aaron Copland’s harmonies and wide intervals, and the virtuosic brass band cornet writing of Gustav Holst and Malcolm Arnold. In the style of an operatic three-part overture, the middle slow section memorializes the tragic loss of 16 lives during the Paiute war in the summer of 1860. Being a rider or a station attendant for the Pony Express was perilous on any leg of the trail, but especially during that time in the Nevada Territory. In a very real way, all these men were iconic heroes of the American West.

Brass Quintet - Grade 3 - Digital Download SKU: DX.145532 Composed by Frances R. Havergal. Arranged by Dana F. Everson. Traditional. Key of F, Ab. Sacred Instrumental Music. Score and Parts. 15 pages. David E. Smith - Digital Sheet Music #145532. Published by David E. Smith - Digital Sheet Music (DX.145532). This quintet (opt. Sextet) begins with extraneous motifs leading into the first statement of the theme in the low brass offset by answering material in the trumpets. The pieces continues in this question and answer texture passing motivic material around the parts. Then in a transition mimicking the beginning a modulation takes place where the theme is more expressive and becomes more aggressive leading up to a majestic coda where it ends on a thought-provoking conclusion.

By Vangelis. Arranged by Bill Carmody. Score, Set of Parts. 10 pages. Published by wjcarmody@gmail.com (H0.208641-126700). - Score,Set of Parts - - wjcarmody@gmail.com