Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download

SKU: A0.589081

By The Beatles. By John Lennon and Paul McCartney. Arranged by David McKeown. Rock. Score and parts. 4 pages. David McKeown #5361001. Published by David McKeown (A0.589081).

Here, There and Everywhere by the Beatles, was released on the 1966 album, Revolver. Never released as a single, the song was nevertheless cited by John Lennon, Paul McCartney and George Martin as being amongst their favourite Beatles songs. Primarily written by McCartney, he acknowledged that the vocal harmonies were inspired by recent releases by the Beach Boys.

Here, There and Everywhere is arranged as a duet for one Trumpet and one Trombone.

Musicians at an intermediate level will find this ideal for formal and informal concert performance. The overall performance time is a little over two minutes. The full YouTube performance linked above is the Clarinet version of this duet.

Teachers will enjoy using this arrangement as a fun way to help with ensemble skills and expressive playing.  

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

B-Flat Trumpet,Instrumental Duet,Trombone - Level 1 - Digital Download

SKU: A0.1367968

Composed by African-American Spiritual. Arranged by André Nusa. Easter,Religious,Sacred,Spiritual. 3 pages. Andre_Nusa #952345. Published by Andre_Nusa (A0.1367968).

Experience the poignant melody of Were You There When They Crucified My Lord? uniquely arranged for trumpet and trombone, tailored for beginner players. This accessible arrangement allows aspiring musicians to delve into the emotional depth of this classic piece with ease. The sheet music strikes the perfect balance, offering simplicity for beginners while preserving the beauty of the original composition. Elevate your musical journey and capture the essence of this timeless piece, a harmonious blend of simplicity and soul-stirring melodies.

Trombone,Trumpet - Level 3 - Digital Download

SKU: A0.1391018

Composed by Traditional Spiritual, Frederic Chopin. Arranged by John A. Dempsey. Christian,Easter,Sacred,Spiritual,Traditional. 15 pages. John A. Dempsey #974546. Published by John A. Dempsey (A0.1391018).

This brass trio for two Bb trumpets and trombone weaves the moving spiritual Were You There? into the tapestry of a beautifully tranquil Chopin etude (Tristesse, Op. 10, No. 3).  Recommended for traditional Easter church services and other worship events, including Good Friday services and Easter sunrise worship as well as the Lord's Supper and Communion.  Works well as a prelude, an offertory, silent prayer accompaniment or special music.  Appropriate year round!  11 pages of music (that includes the score and separate two-page parts for trumpet 1, trumpet 2 and trombone).  Concert Key: Eb major.

Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download

SKU: A0.590657

Composed by David McKeown. Holiday,Love,Wedding,World. Score and parts. 4 pages. David McKeown #6231079. Published by David McKeown (A0.590657).

æ„›(Ai, Japanese for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Trumpet and one Trombone, and is one of series of pieces celebrating Love in different languages around the world.

This duet is inspired by the Enka music of post-war Japan. As reconstruction gathered pace, the popular music of the day combined traditional Japanese scales, rhythms and themes with all sorts of contemporary Western ballad styles. Singers like Misori Hibari and Keiko Fuji became huge cultural icons in Japan and helped lay the foundations for today’s confident and vibrant Japanese music scene. æ„›(Ai) aims to capture the spirit of this emotionally charged music. 

æ„›(Ai) is written for players at an intermediate standard and upwards. Expressive throughout, be sure to pay attention to contrasts in dynamics and articulation. æ„›(Ai) has a performance time of around two minutes and a half minutes. Click the link above to listen to a full YouTube performance of the Clarinet version.

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

Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download

SKU: A0.589557

Composed by Traditional. Arranged by David McKeown. Jewish,Wedding,World. Score and parts. 4 pages. David McKeown #6078939. Published by David McKeown (A0.589557).

Odessa Bulgar is a Jewish Folk tune, often performed by Klezmer musicians. This version is arranged as a duet for one Trumpet and one Trombone.

For many traditional Klezmer tunes, the first clues of their existence comes from bands making discs at the dawn of the recording era. In this case, Odessa Bulgar first appeared in a 1919 recording by Abe Schwartz’s Orchestra. Schwartz was born in Romania and emigrated to the USA around 1900, thereafter enjoying a long career in the music industry. Odessa Bulgar is a happy piece designed for dancing at celebrations.

Odessa Bulgar is simply arranged in a key and range best suited to the instruments. The melody is in three sections; overall the tune is played twice with a coda and with constant variations in the accompaniment. Odessa Bulgar is suitable for players at an intermediate level and above. With a performance time of around two and a half minutes, this version of Odessa Bulgar is perfect for weddings, celebrations and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.

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 

 

Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download

SKU: A0.1224064

Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064).

From Sacrae Symphoniae, Venice, 1597
Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.

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.

Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download

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.



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 he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - Digital Download

SKU: A0.590991

Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 29 pages. David McKeown #6259267. Published by David McKeown (A0.590991).

18 Easy Gospel Duets Vol.2 for Trumpet and Trombone is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and keys for one Trumpet and one Trombone.

The standard is early intermediate to intermediate. Players with a year or two’s experience will enjoy playing these duets, with plenty of interest in both parts and imaginative arrangements. These duets are ideal for use in concerts or worship, formal or informal. Click on the link above to hear samples of these duets performed on YouTube, performed on Clarinet.

The hymns are in alphabetical order and are as follows

·    O Mary Don’t You Weep,

·    O When the Saints,  

·    Old Time Religion,  

·    Onward Christian Soldiers,  

·    Rock of Ages,  

·    Shall We Gather at the River,  

·    Stand Up, Stand Up for Jesus,

·    Standing in the Need of Prayer,

·    Swing Low Sweet Chariot,

·    Steal Away,

·    There is a Fountain Filled with Blood,

·    There is Power in the Blood,

·    This Little Light of Mine,

·    Wade in the Water,  

·    Were You There?  

·    What a Friend We Have in Jesus,  

·    When the Roll Is Called Up Yonder,  

·    When We All Get to Heaven.  

If you like these duets, then there are another 18 just like them in Volume 1. To find them copy and paste 18 Easy Gospel Duets Vol.1 for Trumpet and Trombone in the Search Bar above. There are also longer and more challenging arrangements available in 10 Gospel Duets for Trumpet and Trombone.