Brass Quintet Concert Album Vol. 1 Horn

Auld Lang Syne 2. See, the Conquering Hero 4. Have a look HERE! Trumpet Tune and Air. Fun and Easy Trios.

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March From The Nutcracker Suite. Eine Kleine Nachtmusik Mvt. Sevilla from Suite Espanola. Prelude to Te Deum.

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Let Me Weep, from Rinaldo. Scenes from the Tournament Suite characteristic of Medieval Jousting: Vesti La Giubba from I Pagliacci. Where the Eagle Soars. Overture Marriage Of Figaro. Nessun Dorma from Turandot. Piccolo Trumpet 4 Trump, Flugelhorn Percussion. Solemn Entrance of the Knights of St. Susato Dance Suite, from Danserye Spring from the Four Seasons. Six Hymns for Two Horns. Studies in Syncopation Sections have been transposed down an octave. Various Dowland, Liszt, Palestrina, Schumann. Little Hunting Pieces - 3 and 4 horns Settings by: Songs My Mother Taught Me.

Dance of the Hours.

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Two Hymns - Vol. A Hymn for the Lost and the Living. Hornpipe from Water Music. Duet for a Ceremony Love One Another. Arioso Christmas Cradle Lullaby. Air from Water Music, Bach: Bist Du Bei Mir, Clarke: Spiritual Jazz Suite Includes: Let Us Break Bread Together. Die Ehre Gottes aus der Natur Chopin: With the increasing popularity of opera, opposition to his oratorios had grown among his regular high-society subscribers forcing Handel to cancel his plans for a oratorio season.

With Judas Maccabaeus, Handel opened the doors to all comers, allowing the middle classes into the concerts for the first time alongside the high-society. The libretto was written by the Reverend Thomas Morell and is based on the first book of Maccabees in the Apocrypha.

The people of Israel have just been thrown into despair by the impending invasion of the forces of the King of Samaria. This marvellous aria with chorus is a call to arms to rise up and fight off the invaders. Given the political background of the events of the time and coming at a dramatic high point in the oratorio, it couldn't help but strike a popular and patriotic note with the audience of the time. It is a tribute to the music that the dramatic impact survives to this day, moving audiences all over the world.

Arranged for Brass Quintet by Stephen Wick Overture, Adagio e Staccato, Allegro, Air and Hornpipe Difficult but rewarding arrangements that require trumpet players who can change from the B flat trumpet to the piccolo trumpet with ease. The trombone plays 'second horn' in all the horn call type figures and the tuba part requires some nimble playing. Stephen Wick's excellent arrangements have been heard around the world in his performances with the 'English Brass Ensemble'. For advanced student groups, studios and professionals.

Each movement is well put together for the instrument combinations, and each movement has something of interest for each player. No one will tire of playing this arrangement. It would be a wonderful piece for a concert of brass music, or the individual movements could be used in school concerts. Taranaki Highlights Australian Work. Canzona for Ligeti Australian Work " A short lament for solo horn, preferably played off-stage, is followed by a movement for brass quintet. Music Hall Suite score and parts.

Brass Quintet Australian Work. Another son, and a few years later, the strains of " tell me another Ircus Dad " are still occasionally uttered by my youngest son, now eight. The character Ircus MaGurcus is based on a circus clown who, with friend Fatty Bombarda , goes on a series of chaotic adventures. When the opportunity to write a lively piece of music for a brass quintet arose Ircus MaGurcus immediately sprung to mind. Ircus MaGurcus is dedicated to his two greatest fans martin and Matthew" , Duration: Jazz Waltz for Brass Quintet A light hearted, jazzed up rendition of the old favorite.

Simple in it's concept and immediately playable by every intermidiate level quintet. Another classic and popular arrangement by Walt Perkins. Fantasia on Sea Shanties parts only Australian Work.

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Penthorn Penthorn was originally written as an unaccompanied piece for Solo Horn and was later adapted for Brass Quintet. As such Penthorn can be performed unaccompanied or with the Brass Quartet accompaniment. Purchase direct from Robert. Voice of Spring Op. Medium-Difficult This attractive brass quintet based on the traditional sea shanty What Shall We Do With The Drunken Sailor opens with a fanfare followed by a main theme, first on trumpets and then on the horn. A series of linked variations follow, with the tune passed between the instruments in constantly changing tempos and styles.

A strong rhythmic accompaniment keeps the sea shanty mood and the piece finishes with a showy flourish. Arranged by Eileen Clews, this light hearted work gives each player the chance to show off their instrument, so making it an ideal concert piece or a study piece for brass workshops. The composer offers the following anecdote: The city of Tetouan was our destination; we were soon standing before its main gates.

As we entered the city, our senses were overrun by the many exotic new sights, complementing the wild sounds and smells of the bustling ancient city. After proceeding only a few feet past hobbled live chickens, we found ourselves immersed completely in the endless, tiny alleys of the Casbah. It was a labyrinth of tunnels and passageways, lined with vendors and shops the size of walk-in closets. Anything could be had, including copperware, sacks of spices and grains, and silk.

Street butchers displayed slaughtered lambs, goats and pigs, and a snake charmer with his cobra unnerved the unwary passerby. Somewhere around the urine-treated leather goods things began to swim before my eyes. After I informed the guide that I was ill, a young boy was sent to escort me to a quiet place. The boy knew every secret passage and shortcut in the Casbah. He led me through even tinier streets and tunnels, across nomad camps, and even through a kitchen! We sailed through the back door of a mosque, and out the other side.

Finally we entered a large, dark and cool house, which seemed to be some sort of palace. The boy led me to a back room and laid me down upon a bed of large pillows. I awoke thoroughly disoriented. The first things I saw were six elaborately cloaked elderly men, wildly discussing in Arabic what could possibly be wrong with me, I heard exotic music and aromatic food assailed my senses.

After closer observation I discovered I was in a fancy restaurant, being entertained by a belly dancer. Somehow my wife and brother found me and we resumed our inspection of Tetouan. I still felt lightheaded and rather doped by the "therapeutic" tea; my impressions of the city were somewhat hallucinogenic. Improvisations Commissioned in by the Quintette de Cuivre de Loraine 2 Trumpets, Horn, Trombone, Tuba opt Bass Trombone I chose the title "Improvisation" because of the circumstances in which the piece was written.

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At the time of receiving the commission by the Loraine Brass Quintet, I was doing quite a lot of traveling and didn't always have access to a piano or keyboard. During the month of April , I had several different motives bouncing around in my head. The theme at the very opening the listesso tempo after letter A the motive in the treble voices at letter B and the subsequent fugue theme had all basically been decided on.

I just needed to weave them all together in some sort of a coherent form. I had also decided that, with a bit of luck, the natural progression and development of these themes could evolve into a very nice B section melody the Andante Cantabile after letter H. With this plan, and five days to kill in Chicago, I set about composing the quintet.

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Not having any sort of keyboard instrument at my disposal, I quite literally had to improvise and hope for the best. About 2 weeks later, I found myself on a flight to Melbourne, Australia via Singapore, where I had planned to stop over for two days. It was on this flight that I had the idea for the ending approximately letter M to the end.

So the first morning in Singapore was spent tagging on that part of the piece. If a jazz musician is asked to improvise a solo during a number, he will invent variations on the song being played and spontaneously adjust the themes and harmonies to fit his own style, mood and capabilities. Intermediate-Advanced Composed in Genre: