Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158199 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,March,Patriotic. 32 pages. Https://gildedmusicpress.com/ #758476. Published by https://gildedmusicpress.com/ (A0.1158199). There is nothing more quintessentially military than the grand sound of marches at special military events. Hundreds of marches have served their purposes through the many decades of military tradition in the United States of America. This 3.5-minute march was composed for the occasion of the change of command of the 55th Wing—“The Fightin’ 55th�—under Air Combat Command, located at Offutt Air Force Base in Nebraska. The ceremony took place on June 14, 2019, which was also Flag Day. The new march served as a grateful tribute to the outgoing Commander, Colonel Michael H. Manion, and a welcoming gesture to the new Commander, Colonel Gavin P. Marks. Printed copies of the score were presented to the Commanders before the ceremony, and the march was premiered as the final pre-ceremony musical selection. The opening motifs are strongly reminiscent of the introductory measures of the “Air Force Song� most commonly played by Air Force brass quintets. Keeping in tradition with the form of most marches, the “Trio� section presents new material in a new key (down a fifth), with a contrastingly quiet dynamic. The opening motif of the Trio strain is a mutation, or a paraphrase, of “Anchors Aweigh�, emphasizing the joint-force nature of the 55th Wing. The melody is repeated with a louder dynamic and a countermelody in the horn, and then is repeated once more with increased excitement in the accompaniment, variety of dynamics, and even a temporary key shift. Straying from the form most used by the “March King�, John Philip Sousa, Dr. Thrower omitted a fourth or final strain, and instead he modulated the key back to the original B-flat major and brought back the melodic content from the first strain. This form predates Sousa, and was more commonly used in Europe and early America. It smacks of “sonata form�, and even the modern formal designation of “recapitulating march� alludes to sonata form. The final recapitulating strain repeats with an obbligato soaring above it in the first trumpet part, now on piccolo trumpet. The march ends with a short coda that brings back the opening motivic allusion to the Air Force Song. Due to the selected formal structure, this march, “The Fightin’ 55th�, is much more unified than most typical marches. The very nature of military marches (including America’s beloved “Stars and Stripes Forever�) displays four or even five completely unrelated melodies, or strains, throughout. The incorporation of thematic structure similar to that found in sonata form indeed makes “The Fightin’ 55th� an appropriate and even artistic concert march.

Brass Quintet - Advanced - Digital Download Composed by Giuseppe Verdi (1813-1901). Arranged by Thomas Jostlein. Romantic Period, Opera. Score, Set of Parts. 11 pages. Published by Cherry Classics Music

Brass Quintet - Level 3 - Digital Download SKU: A0.1251244 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Christmas,Classical,March,Romantic Period. 15 pages. Woods Only, Arrangements #845522. Published by Woods Only, Arrangements (A0.1251244). This arrangement adapted for brass quintet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice.Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158148 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Historic,Patriotic. 47 pages. Https://gildedmusicpress.com/ #758453. Published by https://gildedmusicpress.com/ (A0.1158148). From the Shadow's Edge was commissioned by horn player in the US Air Force Bands, SSgt Alena Zidlicky, to honor her grandmother Beluse Urlich Zidlicky (Babi), who escaped the oppressive Nazi occupation of Czechoslovakia during WWII. For brass quintet and percussion, the horn is featured. The music of this composition begins in aural darkness, as if immersed in an inescapable shadow. The tense harmonies and contrapuntal motions of the brass are accompanied by two heartbeat motifs, in the tuba and bass drum, conjuring sentiments of fear and uncertainty. Emotions swell as the solo horn enters with contrasting triplet rhythms that struggle against the complex mixture of duple strains throughout the other parts. This dark introduction serves as a prelude to the above storyline, which transitions quickly (and trepidatiously) out of the shadow. From rehearsal letter B through the remainder of the piece, hope permeates in the brightness, once escaped from the shadow’s ominous edge. The complex nature of the thematic overlapping and polyphonic texture of the quintet as a whole provide feelings of unrest, anticipation, hope, and yes, heroism. Nothing exudes heroism more than a soaring solo horn! This composition celebrates triumph over evil, whether during life or in death, and those who press on with a brightness of hope even in the darkest shadows that life can cast, as exemplified in the life of Beluse Ulrich Zidlicky.

Composed by public domain. Arranged by Jeff D. Anderson. Christian, Spiritual, Sacred, Wedding, Recital. 28 pages. Published by AnderKamp Music (S0.267931). - - Christian,Spiritual,Sacred,Wedding,Recital - AnderKamp Music

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music.  The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.�     But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.     Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three� composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.     Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.     One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.� (The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.       This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.     The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.

By James Hetfield,Lucie Silvas. Arranged by John Milne. Score, Set of Parts. 18 pages. Published by Odd Shoe Music (H0.263039-986355). - Score,Set of Parts - - Odd Shoe Music

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.

Brass Quintet - Level 4 - Digital Download SKU: A0.1489523 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Film/TV. 31 pages. Https://gildedmusicpress.com/ #1066386. Published by https://gildedmusicpress.com/ (A0.1489523). Dimension Traveler, Op. 150, for brass quintet was completed 26 Mar 2024.  When I wrote the first few distinctive notes into the computer, my ten-year-old son said that it sounded “futuristic.”  Somehow that sparked memories of a novel I had started years ago, titled “Dimension Traveler,” based on dimensional theories I had developed.  With that fresh inspiration in mind, the piece wrote itself with opening movie credits in mind.The form is thematically palindromic, the center point being m. 77.  The beginning to rehearsal letter A mirrors K to the end; A to B is parallel to J-K; B-C = I-J; C-D = H-I; D-E = G-H; and the central thematic sections E-F = F-G.  Concerning that central turning point, the thematic material shifts from the trumpets’ first statement at letter E to low brass with the trumpets taking on the pointillistic accompaniment at letter F.  Of interest is the parallel of C-D and H-I wherein the motivic material, including dynamics, is quite literally reversed note for note to a climax.For aural aesthetics in performance, there is an optional cut from letter K to m. 142.  Thematically, the structure remains chiastic, but taking the cut simply truncates the end for a motivic flavor rather than repeating the entire opening entrée.  There is nothing wrong with purists performing the work in its entirety—it is simply a matter of taste among the performing ensemble members.Stylistically, this piece strays far from my typical compositions.  Besides the pervasive echoing eighth-note motifs, the key never changes, and there is no chromaticism.  Inspired in that regard by the masterpiece “Quintet” by Michael Kamen, the diatonicism often flows in planed clusters mildly influenced by the choral works of Eric Whitacre.  Another deviation from my well-established compositional habits is the instrumentation including bass trombone instead of tuba.  Of course the part can be played by a tubist, though the bass trombone meshes more seamlessly with the timbres of the other instruments in passing along the pervasively echoing eighth-notes.The individual brass parts appear deceptively simple, and indeed, they are not technically demanding besides a couple high notes in the trumpets.  However, putting this piece together in an ensemble setting is rhythmically treacherous!The four-minute final product indeed sounds like it could be the opening to an epic movie of the same title, based on the novel-in-progress.

Composed by Various. Arranged by B. C. Dockery. Sacred, Spiritual, Traditional. Score and parts. 145 pages. Ben Dockery #697950. Published by Ben Dockery

Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1495808 Composed by Richard John (Gb1) Thompson. Arranged by Peet du Toit. Traditional. 7 pages. Peet du Toit #1072337. Published by Peet du Toit (A0.1495808). BANKS AND BRAES (O' BONNY DOON). AKA and see “Bonnie Doon,” Lost is My Quiet, Caledonian Hunt's Delight (The), Ye Banks and Braes. Scottish, Air and Waltz (6/8 or 3/4 time). The antiquarian William Chappell claims the tune is English on the strength of its being included in a Collection of English Songs by Dale (who published about 1780-1794) under the title Lost is my quiet. However, the collector John Glen (1891) relates a delightful story of the tune's origins involving the famous Scots poet, Robert Burns (1759-1796), who wrote to publisher George Thomson in 1794:Do you known the history of the air? It is curious enough. A good many years ago, Mr. James Miller, writer in your good own (Edinburgh), a gentleman whom, possibly, you know, was in company with our good friend Clarke; and taling of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of a joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is, that, in a few days, Mr. Miller produced the rudiments of an air which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. Ritson, you know, has the same story of the black keys; but this account which I have just given you, Mr. Clarke informed me of several years ago.Miller's tune was first published under the title Caledonian Hunt's Delight (The) in Gow's 2nd Collection (1788), but Glen concludes that it is more likely that Lost is my quiet is a poor adaptation and nothing else. He also notes there is a tune having a supposed resemblance in Playford's Appollo's Banquet (1690) entitled Scotch Tune (A) (No. 68), but in the end he believes that neither Chappell's arguments nor facts are strong enough to deprive Mr. Miller of his claim. The Caledonian Hunt's Delight appears also in George Thomson's A Select Collection of Original Scottish Airs for the Voice (Edinburgh, 1793-1797), arranged by Kozeluch. A rondo on the air was composed by Domenico Corri (1746-1825) under the title Favourite Irish Air (which, of course, it is not).

Brass Ensemble - Level 4 - Digital Download SKU: A0.964598 Composed by Johannes Brahms. Arranged by Betsy Bright. Children,Concert,Jewish,Romantic Period,World. Score and parts. 15 pages. Bright Music Company #6508043. Published by Bright Music Company (A0.964598). Brahms Hungarian Dance No. 5 is best known as an orchestral showpiece, though Brahms was not the orchestrator.  Brahms's original work was for piano 4-hands.  This brass quintet arrangement is a half step lower than Brahms's original piece, so it fits well into all of the brass parts.  Higher brass all have ample rest and nothing is high or taxing.  Also, the tempo changes have been written out, so there's no time wasted in rehearsal discussing how to handle tempo!  Speaking of tempo...this piece is super fun to play for education shows.  Kids can move along to the tempo and feel the abrupt changes throughout the piece.No playing headaches...just lots of fun for the musicians as well as the audience!  Duration:  2 minutesDifficulty:  Advanced Intermediate

Composed by Charles Gounod (1818 ?1893). Arranged by F. Leslie Smith. Romantic Period, TV, Halloween, Children's Music, Recital. Score, Set of Parts. 24 pages. Published by Sweetwater Brass Press (S0.136443). - Score,Set of Parts - Romantic Period,TV,Halloween,Children's Music,Recital - Sweetwater Brass Press

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1379663 Composed by Robert Lowry. Arranged by B. C. Dockery. Christian,Easter,Religious,Sacred. 7 pages. Ben Dockery #964365. Published by Ben Dockery (A0.1379663). Arranged for brass quintet: two Bb trumpets, french horn, trombone, and tuba. Great for preludes, offertories, postludes, recitals, and lessons. Especially well-suited for Easter services. Includes score and parts.

Brass Quintet - Level 3 - Digital Download SKU: A0.684899 Composed by Gert Th. Walter. Arranged by Gert Th. Walter. Christmas,Halloween,Hanukkah,Holiday. 50 pages. Gert Th. Walter #6561467. Published by Gert Th. Walter (A0.684899). Are you looking for modern and spirited Christmas music for your Brass Quintet? Here you go! Renewed © 2023 MusikVerlag Gert Walter, Germany. All Rights Reserved. Please also visit our website: https://www.musikverlaggertwalter.de. And now have fun making music! Christmas Suite Box – The Complete Collection: Candy 'n Cake / Trick Or Treat! / The President's Turkey-Pardon / Thanksgiving Day / Turkey's Wishbone / Black Friday / National Christmas Tree / Dyker Heights / Pyjamas - We Are Family / Hanukkah / Stockings / A Visit From St. Nicholas / Santa Was Here! Wake Up! / Mistletoe / Yule Log / Nothing Goes Out / New Year's Eve / New Year's Hymn. Very easy arrangements, but not only for pupil and beginners. It works for any services, and it is especially appropriate for schools and students. © 2021 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de