EUROPE
236 articles
USA
0 articles
DIGITAL
78 articles (à imprimer)
Partitions Digitales
Partitions à imprimer
78 partitions trouvées

1 16 31 ....76

Concert Band - Digital Download SKU: A0.739420 Composed by Cesar Auguste Franck. Arranged by David Catherwood. Romantic Period,Wedding. Score and parts. 26 pages. Opus 3 Music #3421517. Published by Opus 3 Music (A0.739420).  Panis angelicus This arrangement of Franck's famous vocal solo is intended originally for Trombone and Orchestra but will work equally well with other suitable instruments in the solo role ('cello, bassoon, euphonium, violin , clarinet etc) and if necessary just a quartet accompaniment.A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 2 in F (Horn in F)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Panis angelicus (Latin for Bread of Angels or Angelic Bread)Panis angelicus     (May the Bread of Angels)fit panis hominum;   (Become bread for mankind;)Of course the instrumental parts could also be used to accompany the original vocal part.
Panis Angelicus - Solo with Flexible 4 part instrumental accompaniment arr. David Catherwood
Orchestre d'harmonie

$9.50 9.1 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.522188 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship. Score and parts. 190 pages. Colin Kirkpatrick Publications #6403623. Published by Colin Kirkpatrick Publications (A0.522188). This essential collection may be all you ever need for your wind instruments at Christmas. It's a bargain price too! These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. The publication consists of a four-staff score in concert pitch together with fifteen separate parts in various transpositions plus a simplified optional keyboard part. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. These four-part arrangements use flexible instrumentation so that you can exercise considerable control over the instrumental voicing or use them for non-standard ensembles. You can also create interesting instrumental tone color by omitting groups of instruments. If the ensemble is large enough you could omit brass instruments in the quieter sections, or use a solo trumpet against a woodwind background. There are endless possibilities.The complete set includes: Part 1 in B flat, E flat and C; Part 2 in B flat, E flat and C; Part 3 in B flat, E flat, F and C and Part 4 in B flat, E flat and C. Parts 1 and 2 in C have been printed an octave higher than the pitch shown in the score because invariably the parts lie too low for flute or oboe. For elementary players, a Part 1 in C (low) is included at concert (score) pitch. Parts 3 and 4 in C are in the bass clef. The arrangements could be played by virtually any combination of conventional wind band instruments. Using the optional keyboard part they could also be used as solos, duets or trios. The scores and all the parts are contained in a single 190-page PDF file. Please note that these arrangements are not necessarily compatible with other Kirkpatrick arrangements published by Glyn Joseph Editions. The collection incuers the following favorite carols: Angels We Have Heard On High (Gloria); Lo, How a Rose E’er blooming (Es ist ein Ros entsprungen); O Come, O Come Emmanuel (Veni Emmanuel); The First Noel; Ding Dong! Merrily on High (Bransle de l’Officiel); O Come All Ye Faithful (Adeste Fidelis); Hark! The Herald Angels Sing (Mendelssohn); Go Tell It on the Mountain; O Little Town of Bethlehem (St. Louis); O Holy Night (Cantique de Noël); Silent Night (Stille Nacht); Away in a Manger (Mueller); Joy to the World (Antioch); O Christmas Tree (Tannenbaum); We Three Kings (Kings of Orient); I Heard the Bells on Christmas Day (Waltham); What Child is This? (Greensleeves); God Rest You Merry, Gentlemen; Good King Wenceslas (Tempus Adest Floridum) and We Wish You a Merry Christmas.
America's Favorite Christmas Carols arranged for Wind Instruments
Orchestre d'harmonie

$19.99 19.16 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 138 pages. Colin Kirkpatrick Publications #5726785. Published by Colin Kirkpatrick Publications (A0.522172). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 138-page PDF file for instant download. Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus’ Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George’s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre).   The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.   
The Best Hymns of All Time (for Wind Instruments) Book 3
Orchestre d'harmonie

$31.99 30.66 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.522171 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 123 pages. Colin Kirkpatrick Publications #5726781. Published by Colin Kirkpatrick Publications (A0.522171). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 123-page PDF file for instant download. Book 2 contains the following twenty popular hymns: A Mighty Fortress is our God (Ein Feste Burg); Awake my Soul (Morning Hymn); All Creatures of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Angels we have Heard on High (Gloria); Be thou my Vision (Slane); Come Thou Font of Every Blessing (Nettleton); Eternal Father, Strong to Save (Melita); God moves in a Mysterious Way (London New); Glory to Thee, My God, This Night (Tallis Canon); How Sweet the Name of Jesus Sounds (St. Peter); Immortal, Invisible, God Only Wise (St. Denio); Onward, Christian Soldiers (St. Gertrude); Let us with a Gladsome Mind (Monkland) Love Divine, All Loves Excelling (Beecher); Praise my Soul, the King of Heaven (Lauda Anima); The Day Thou Gavest (St. Clement); The King of Love my Shepherd is (St. Columba); We Plough the Fields and Scatter (Wir pflügen); Lead Us, Heavenly Father, Lead Us (Mannheim). The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.   
The Best Hymns of All Time (for Wind Instruments) Book 2
Orchestre d'harmonie

$31.99 30.66 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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 more than two groups. Because they could be appropriately situated, the instruments 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 and 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. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Orchestre d'harmonie

$47.95 45.96 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 more 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 which 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 by 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.
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
Orchestre d'harmonie

$47.95 45.96 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. 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.  
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Orchestre d'harmonie

$47.95 45.96 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.739438 Composed by SS Wesley. Arranged by David Catherwood. Sacred. Score and parts. 16 pages. Opus 3 Music #3664595. Published by Opus 3 Music (A0.739438). Composed by Samuel S. Wesley  AURELIA (meaning golden) was published as a setting for Jerusalem the Golden in Selection of Psalms and Hymns, which was compiled in 1864. The tune has remained extremely popular ever since being used for a number of hymns in 7 6 7 6 metre including The Church's one Foundation and O Jesus I have promised, amongst others.This is a simple arrangement of the tune with a short introduction and a coda which will work well to accompany the singing of the hymn or as an instrumental pice for a processional or offertory situation. The generous set of parts makes it ideal for School Orchestra, Church Orchestra, Concert Band, Brass Band or any instrumental quartet.A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion
Hymn tune Aurelia By SS Wesley arr. David Catherwood
Orchestre d'harmonie

$9.50 9.1 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.1515530 Composed by Inon Zur. Arranged by David Boyd. 21st Century,Instructional,Video Game. 101 pages. David Boyd #1089883. Published by David Boyd (A0.1515530). The Fallout 4 Main Theme is an iconic piece of video game music, instantly recognizable for its blend of melancholy and grandeur. Originally composed by Inon Zur, the theme reflects the post-apocalyptic world of the Fallout series, evoking both the devastation of the landscape and the hope for rebuilding. This flex band arrangement strives to capture the emotional depth of the original while making the piece accessible to a wide range of ensemble configurations.Instrumentation and Flexibility:This arrangement is designed for a flexible band format, it can be performed by various combinations of instruments and group sizes. The scoring allows for a minimum of 5 parts, which can be covered by any instrumental family, including strings with optional percussion to add depth and texture. The arrangement works with a standard wind ensemble, but it can also be performed effectively by smaller groups, including mixed wind, brass, and string ensembles.Part 1: Flute, Oboe, Clarinet, Trumpet, ViolinPart 2: Flute, Clarinet, Alto Sax, Trumpet, ViolinPart 3: Clarinet, Alto Sax, Tenor Sax, Horn in F, ViolaPart 4: Tenor Sax, Horn in F, Trombone, Euphonium, CelloPart 5: Bass Clarinet, Baritone Sax, Bassoon, Trombone, Euphonium, Tuba, Double BassPercussion: Suspended Cymbal, Roto Toms/Snare/Tenor Drum x 2, Bass Drum A condensed, non-transposed score is also provided,Everything can change in an instant, whether or not you're ready. This wasn't the world I wanted, but it was the one I found myself in. This time I'm ready. Because I know... War. War never changes. - Sole Survivor of Vault 111, Fallout 4.
Theme From Fallout(R) 4
Orchestre d'harmonie

$49.99 47.91 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 1 - Digital Download SKU: A0.1490531 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Alberto Caeiro. Pop,Rock. 41 pages. Alberto Caeiro #1067357. Published by Alberto Caeiro (A0.1490531). This arrangement of Viva la Vida by Coldplay is designed for a young wind band with simple and homogeneous writing, suitable for developing musicians. The arrangement retains the essence of the original piece while allowing students to explore the unique timbres of woodwind and brass instruments.This arrangement considers the range of the instruments, making it not too difficult to play while allowing the band to explore various instrumental colors. The bassoon parts are adaptable for any instrument in low C, providing additional flexibility.The arrangement features a different introduction and ending than the original, but it maintains the key and form of the original piece.Wind Band Formation:1 Flute1 Oboe2 Clarinets2 Bassoons1 Alto Saxophone1 Trumpet1 Tuba1 Euphonium:3 Percussionists.
Viva La Vida
Orchestre d'harmonie
Coldplay
$49.99 47.91 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.958083 Composed by Unknown Traditional folk songs. Arranged by David Berlin (ASCAP). Instructional,Romantic Period,Standards. Score and parts. 96 pages. David Berlin #3559075. Published by David Berlin (A0.958083). This collection of folk melodies from Ireland can be studied independently or in a variety of groupings. While created in open scoring for beginning and young instrumentalists, these pieces could be used by anyone. They are accessible with as few as two players and as many as are available in almost any combination of instruments. The folk melodies are also excellent to use as warm-ups because they can serve the purpose while also providing aesthetic value. The teacher is encouraged to be flexible and creative with them. Directors are encouraged to perform these in various combinations and sets. Feel free to be creative. For example, repeats could be added featuring various soloists and/or small groupings in contrast with the full group (as in a concerto.) Creativity could be promoted by allowing students to make suggestions pertaining to the formal organization of the material. In addition to decisions as to which pieces to perform directors are encouraged to involve students in making creative decisions such as which ones to put together, which phrases to repeat in various combinations and instrumental subsets and other appropriate aesthetic decisions. Each piece could function as a locus for branching into various content areas in connection with social studies, integrated curriculum and/or inquiry. Many of the melodies have very smooth and conjunct voice leading making them excellent for solfege/sight-reading training. These melodies are offered as a resource for the teacher to use in a variety of ways and possibilities are unlimited. Lyrics are readily available online. 
Three Irish Folk Songs (that became popular in the US.)
Orchestre d'harmonie

$9.99 9.57 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 4 - Digital Download SKU: A0.1024218 Composed by Blake Mathieson. Contemporary,World. Score and parts. 22 pages. Blake Mathieson #2884421. Published by Blake Mathieson (A0.1024218). 22 pages. Size A4.This is the conductor's book for the song Kyrgyz Rhythms. This book should be used when conducting a concert band. It contains the parts for Piccolo, Flute, Oboe, B flat Clarinet, Alto Saxophone, B flat Trumpet, Tenor Saxophone, French Horn in F, Bass Clarinet, Baritone Saxophone, Bassoon, Euphonium, Trombone, Bass Drum and Snare Drum. The piece uses the whole ranges of these instruments, from the A1 that can be played by the Bassoon and Trombone, to the C8 that is required from the Piccolo. Many of these instruments need to use techniques to utilise their full range, so make sure your instrumentalists are skilled and knowledgeable.The song has a lot of rhythmic and melodic diversity, and switches tempo and key signature frequently. The keys used are C major, F major, G major and E minor, not too difficult. Some of the rhythms can be quite hard to grasp, and instrumentalists must be able to play quick notes with accuracy. Again, make sure your instrumentalists are well learned for this. The song has a set of melodies, that are divided up by three bar percussion solos. Many of the instruments play solos or solis throughout the song, which it can be good for developing an instrumentalist's ability to stay calm on stage. The song should also improve their ability to play some complex rhythms at quite a fast speed.
Kyrgyz Rhythms Conductor's Booklet
Orchestre d'harmonie

$14.99 14.37 € Orchestre d'harmonie PDF SheetMusicPlus

Large Ensemble - Level 3 - Digital Download SKU: A0.522106 Composed by Father Enric Marfany Bons (1871-1942). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 35 pages. Colin Kirkpatrick Publications #3362511. Published by Colin Kirkpatrick Publications (A0.522106). Colin Kirkpatrick’s National Anthems Express  ANDORRA: Himne Andorra This quick and easy national anthem arrangement is essential for travelling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a three-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch) flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat        (tenor horn, alto sax); Part 3 in F (French horn);  Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat  (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies on US letter-size paper. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service.   He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.  
Andorra National Anthem: Himne Andorra
Orchestre d'harmonie

$5.99 5.74 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 1 - Digital Download SKU: A0.563350 Composed by Austin Ralphson. Instructional,Latin,Multicultural,World. Score and Parts. 188 pages. Austin Ralphson #3561245. Published by Austin Ralphson (A0.563350). The Mixed Abilities School Ensemble Series ** For the complete pack of pieces in this series, get a great bulk saving at https://www.sheetmusicplus.com/title/mixed-abilities-classroom-ensemble-pack-extra-value-bundle-of-music-for-school-groups-digital-sheet-music/20768644?ac=1&aff_id=559837 ** Children (and adults) who learn a musical instrument will always progress at different rates.Students also develop some of the many skills involved in instrumental playing faster than other skills. The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts). It also encourages students to develop improvisation skills by providing soloing opportunities within all parts, with suggested pitches for improvising. Each piece has five different parts which are split into four ability levels as follows: A – Range of about 5 notes, easy rhythms. B – Range of about 1 octave, basic rhythms. C – Range of about a 12th, some more difficult rhythms. D – Range of about 2 octaves, some rhythmic complexity. This enables the teacher to select parts which are suitable for the standard of individual players in the group. As a general rule, the pieces have been composed as follows: Part 1 – melody / countermelody (alternates with Part 2) Part 2 – melody / countermelody (alternates with Part 1) Part 3 – accompaniment (synchronises with Part 4) Part 4 –accompaniment (synchronises with Part 3) Part 5 – bass line (independent) Each part also comes in a wide array of transpositions, clefs and pitches. Hence, almost any combination of instruments can play together in an ensemble of mixed abilities,including: Flutes, clarinets, saxophones, mixed woodwind, trumpets, mixed brass (including brass band), violins, strings, keyboards/pianos, tuned percussion. An ensemble using any combination of instruments (as is often found within schools) will work effectively as well. Example: A quintet might be selected as follows: 1A (violin), 2C(trumpet), 3B (clarinet), 4B (tenor sax), 5D (trombone) The melody in 1A would be very simple but would contrast nicely when passed to the more difficult 2C. Parts 3B and 4B will have quite a simple accompaniment between them, whilst the bass line on 5D will be more complex and rhythmically interesting. Parts can obviously be doubled up as well beyond five players. Please note that the teacher of the ensemble should be careful to pick parts which are well-suited to the players’ abilities. CRAZY LATIN! is the second piece in this series, and has additional parts for Latin percussion commonly found in the classroom. Suggested percussion rhythms are also provided with phrases by which students can remember the rhythms. You are obviously free to alter these in any way, or add additional instruments however. Please listen to the mp3 file, which is an electronic example of the piece being played with glockenspiel on 1C, piano on 2B, xylophone on 3B, clarinet on 4A and 'cello on 5D. Score and all parts are included here in a variety of pitches, clefs and transpositions. It is the complete package! Printing and Copying The purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.
Crazy Latin! for classrooms and school ensembles - Mixed Abilities Classroom and School Ensembles
Orchestre d'harmonie

$14.99 14.37 € Orchestre d'harmonie PDF SheetMusicPlus


1 16 31 ....76




Partitions Gratuites
Acheter des Partitions Musicales
Acheter des Partitions Digitales à Imprimer
Acheter des Instruments de Musique

© 2000 - 2025

Accueil - Version intégrale