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A_def ScoreExchangeUsersUsers LockedDate LockedDate ? O`def ScoreExchangeUsersUsersAllowSmallPaymentAllowSmallPayment ?Yadef ScoreExchangeUsersUsersLastAccountLockReason3LastAccountLockReason3 ? Ibdef ScoreExchangeUsersUsersLastUnlockDateLastUnlockDate ? Ycdef ScoreExchangeUsersUsersSellerDiscountOverrideSellerDiscountOverride ? Iddef ScoreExchangeUsersUsersEmailConfirmedEmailConfirmed ?Medef ScoreExchangeUsersUsersNeedsNewPasswordNeedsNewPassword ??fdef ScoreExchangeUsersUsers CreatedIP CreatedIP !-Ugdef ScoreExchangeUsersUsersEmailConfirmRequiredEmailConfirmRequired ?]hdef ScoreExchangeUsersUsersEmailConfirmRequiredDateEmailConfirmRequiredDate ? ijrchestra in Halifax. He has conducted performances of La Boheme by Puccini and Cavalleria Rusticana by Mascagni as well as symphonies, overtures, concertos and concert pieces of Beethoven, Mozart, Copland, Debussy, Shostakovich, Stravinsky, Sibelius and many others. He has also conducted premiers of several Canadian compositions and also his own works. He has been the music director for many theatre productions, working as a composer/vocal coach, violinist, pianist and conductor with Acadia Theatre Company, Centre Stage Theatre, Atlantic Theatre Festival and Ross Creek Centre for the Arts. He worked with numerous churches in the fields of pianist, organist, music and choral director namely St. Francis Chapel in Boston MA, New Minas United, Pereau Baptist, Kings Presbyterian, Cambridge Baptist, First Cornwallis Baptist, South Alton, Coldbrook and Centreville Baptist. Jordan for a short time produced his own orchestra: AVSO or Annapolis Valley Symphony Orchestra in 2007 and ending its first concert with a standing ovation. He has conducted orchestras in the USA, Canada, South Korea and especially Italy where he was invited by the Teatro di Meruchini in Chieti, to conduct a performance of L’histoire du Soldat by Stravinsky. He has had his compositions performed by a variety of ensembles such as the Nova Scotia Youth Orchestra, Symphony Nova Scotia, Annapolis Valley Honour Choir, New England Philharmonia and Symphony Orchestra as well as having these recorded on CD and aired on the CBC. His well known Three Sketches for Orchestra has had over 10 performances. Most recently he has had performances of his works in Southern Victoria (Australia), China, Africa, San Antonio (Texas) and the Columbia College Symphony of the Sierra (California). There was the Russian Premiere of his work Serenity for trumpet and small orchestra by a Youth Orchestra under the direction of Vyacheslav Shaldysheva performed at the Concert Hall of the Novosibirsk music school and yet another premiere of his small Concert Band work March by the Midleton Junior Concert Band under the direction of Robert O’Brien at the 50th National Band Championships of Ireland in the CIT Cork School of Music. More recently there was the premiere of his choral work Angels by the the award winning HNMCS Senior Choir under the direction of Helen Filipe and there will be an up and coming performance of his work C-H-R-I-S-T-M-A-S for large orchestra and chorus by the Gwinnett Symphony Orchestra and Chorus in December 2017. In March 2018 his Rustic Country Dance was performed by the Random Quartet in Italy. He has composed music for over 30 plays/musicals/films and composed 41 symphonies, 41 string quartets, plus many other orchestral, chamber and choral works. His entire catalogue totals more 1500 works for orchestra, film and several different ensembles. He was awarded Honorable Mention in the 2007 Adagio Contest held by the Fauxharmonic Orchestra in Baltimore, Maryland for his large string orchestra work Dolente and more recently 1st place in the 2015 SHSU-BMF International Composition Competition presented by Sam Houston State University and the Bolivian Music Festival with his composition Concerto Semplice for two violins and orchestra. Performances have been with the Bolivian Music Festival Orchestra in La Paz, Bolivia and the Sam Houston Symphony Orchestra in Huntsville, Texas with featured violin soloists Javier Pinell and Naomi Gjevre. His latest commissioned work was Land of Hope and Beauty for large symphonic band, a work commissioned by Louis Sinoff which celebrates the history of New Mexico. He has been regularly commissioned from music ensembles and individuals in the United States, Italy, Australia and Switzerland to write original works but also jazz, tango, musical and opera arrangements, large orchestral and symphonic band works as well as several small ensemble pieces. He has sold a number of his own compositions throughout Europe, Asia, Africa, UK and Australia as well as Canada and USA. His Symphony No. 15 was recently inducted into the Edna St. Vincent Millay Library in New York. Several of his own original compositions have been used in Doctoral Thesis works, recitals and competitions and have also been compiled into discographies in numerous universities across North America. Teaching and conducting since 1992 through a number of schools (Wolfville and Horton School Strings, Cambridge Elementary School Strings, Landmark East, Kings-Edgehill, Berwick and District) and academies (Annapolis Music Academy, Dorian Hall), he now teaches and conducts at his own studio in the fields of classical, pop and jazz music, violin, fiddle, viola, cello, double bass, guitar, piano, clarinet, saxophone, trombone, theory, harmony, history, counterpoint, analysis, conducting and composition. Many of his students have gone on to continue their studies after high school in musical fields such as composition, performance, media/production and music therapy at Acadia University, Berklee College of Music and University of Toronto to name a few. Several of his students also compose, arrange and publish their own works, play in orchestras and teach in a number of different environments. 185119010011 My Scores2476410000000-00-00 00:00:00110[{"on":1,"name":"scoreid"},{"on":0,"name":"sku"},{"on":1,"name":"title"},{"on":1,"name":"instrumentation"},{"on":1,"name":"uploaded"},{"on":1,"name":"price"},{"on":1,"name":"prints"},{"on":1,"name":"views"},{"on":1,"name":"sales"},{"on":0,"name":"price-score-and-parts"},{"on":0,"name":"price-set-of-parts"},{"on":0,"name":"mp3"},{"on":0,"name":"composer"},{"on":0,"name":"subtitle"}]1132.110000-00-00 00:00:000000-00-00 00:00:00010002021-03-12 14:10:20{ "faces" : {} } 02021-03-12 14:10:1900000-00-00 00:00:00400156710.002020-07-29 13:09:1010Account0000-00-00 00:00:002024-04-04 08:06:232020-01-31 13:09:102020-01-31 13:02:571002018-09-29 22:05:50110001$AD365C0E-833C-11EB-A50C-788383FEA0E1000000-00-00 00:00:0000000-00-00 00:00:000000-00-00 00:00:0001000000-00-00 00:00:00kge it for you FOC if possible! keithterrett@gmail.com 3.0001008© 2013 Music for all Occasions (keithterrett@gmail.com)1.502023-05-01 03:31:57100An arrangement of the Indonesian national anthem for Brass Quintet. Indonesia Raya" is the national anthem of the Republic of Indonesia. The song was introduced by its composer, Wage Rudolf Supratman, on 28 October 1928 during the Second Indonesian Youth Congress in Batavia. The song marked the birth of the all-archipelago nationalist movement in Indonesia that supported the idea of one single "Indonesia" as successor to the Dutch East Indies, rath between Sullivan, who composed the music for Gilbert and Sullivan’s comic operas and many hymns, among other works both sacred and secular, and Rev. Scholefield. "The two men were good friends while Sullivan was organist at St Peter’s Church, South Kensington, from 1867 to 1872". In his book, Bradley writes: In an article in the Hymn Society Bulletin in 1994 Mervyn Horder, himself a hymn-tune composer, suggested that ’Sullivan almost certainly had a larger hand in St Clement than has been or can ever definitely be, credited to him.’ His starting-point was the fact that this tune stands head and shoulders above the quality of Scholefield’s other work. None of the 41 other hymn-tunes penned by this self-taught musician show anything like the craftsmanship, originality or melodic sweep of St Clement. Onward Christian Soldiers: Sing Praise to the Lord (Laudate Dominum): "Abide with Me": is a Christian hymn by Scottish Anglican Henry Francis Lyte most of0P7U7U7U7U7U7U7U7U7U7U85No particular unpitched instrument30110050tsIDID? 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Other and Classical music
Jordan Grigg

id+Stewart%22" rel="nofollow">Eurythmics, Annie Lennox, David Stewart1
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Other and Classical music
an Griggrt%22" rel="nofollow">Eurythmics, Annie Lennox, David StewartW58U
Genre
Other and Classical music
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Henry Purcell 7U!Keith Terrett7U!1688W7U12014W0!sibWP3U!250W !50592X3U!15.00W7U10W`7U0!3Yh$3U!4W3U!2021-06-08 15:52:35U!2021-06-08 15:51:54U1J.S. Bach arranged by Keith TerrettU!Keith Terrett7U!0W7U!0W !sibW`3U!250W3U!0W 3U1Arioso for C Trumpet & Harpsichord.sib!2021-06-08 15:52:35U!2W7U!2066W !2.00X 7U!2023-12-29 11:47:44U!1Wh 7U!0W 7U!0W 7U!0.0000X7U!2019-04-02 01:02:09U12023-12-30 05:42:41U0An exciting new Pasodoble for Trombone quartet for your next concert, featuring fast outer movements with a slow movement in-between. There is also a version for Concert Band in my store. Don't play Night Flight to Madrid, try Night Flight to Barcelona! Parts are for three tenors and bass. An alternative part for the 1st Trombone is available for Alto on request:keithterrett@gmail.comRTSTABLE
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An alternative part for the 1stThe National Anthem of Georgia arranged for Brass Quintet. There are alternative versions for Symphony & String Orchestra in my stores. "Tavisupleba" (Georgian: თავისუფლება) is the current national anthem of Georgia. The anthem, whose title means "Freedom", was adopted in 2004, along with the new national flag and coat of arms. The symbols’ change was brought about upon the successful overthrow of the previous government in the bloodless Rose Revolution. The music, taken from the Georgian operas Abesalom da Eteri ("Abesalom and Eteri") and Daisi ("The Nightfall"), by the Georgian composer Zachary (Zakaria) Paliashvili (ზაქარია ფალიაშვილი, 1871–1933), was adapted to form the anthem by Ioseb Kechakmadze (იოსებ კეჭაყმაძე). The lyrics were composed by David Magradze (დავით მაღრაძე). On April 23, 2004, a few months after a popular revolt replaced the government and altered the national symbols, a new national anthem was adopted. The music was taken from the Georgian operas “Abesalom da Eteri” and “Daisi” by the Georgian composer Zakaria Paliashvili, and were composed into an anthem by Joseb Ketschakmadse. 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 Do you love national anthems and their history, then join me on twitter, facebook, instagram & soundcloud for frequent updates & news on my Olympic bid! Need anthems for your next sporting or other event? e-mail me your requirements. I can supply high quality MP3's of any of my national anthem arrangements. An arrangement of the national anthem of The Netherlands arranged for full Symphony Orchestra. Kt Olympic Anthem Seriesfor thre!2020-01-24 02:03:40U!0000-00-00 00:00:00!WW@7U!798929W!0W8>7U!0WA7U!0.00W;7U!10.00W@7U!7.50Wh>7U!0W<7U!WW=7U!0.00W8A7UQ v7UA8U8U7U8U5U4U@!0xXlly (by !0WCenotaph!08Xhich tak!0Wearest t!1W Day) in10W cores07U*7U!7UDP3U!7UDY3U"7UDY3U"7UDY3U "7UDY3U0"7UDZ3U@"7UDж3UP"7UD3U`"7UD0Z3Up"7UDp3U"7UD3U"7UD3U"7UD3U"7UD3U"7UD3U"7UD03U"7UDP3U"7UDp3U#7UD3U#7UD <7U #7UD@7U0#7UD @7U@#7UD@@7UP#7UD`@7U`#7UD@7Up#7UD@7U#7UD@7U#7UD@7U#7UD A7U#7UD A7U#7UD@3U#7UD`3U#7UD3U#7UD3U$7UD;7U$7UD @7U $7UD7U0$7UD07U@$7UDP7UP$7UDp7U`$7UD7Up$7UD7U$7UDб7U$7UD7UdefScor$7UD07U$7UDP7U$7UDp7U$7UD7U$7UD7U$7UDв7UeScores%7UD 7U%7UDp3U %7UD3U0%7UD ;7U@%7UD@;7UP%7UD`;7U`%7UDP7Up%7UD 7U%7UD@7U%7UD`7U%7UD;7U%7UD;7U%7UD;7U%7UD;7U%7UD@A7U%7UD`A7U&7UDA7U&7U &7UDA7U0&7UDA7U727UeScoresatedIma nter-icon@&7UDA7UP&7UDB7U`&7UD B7Up&7UD@B7U&7UDB7U&7UDC7U&7UD0C7U&7UDPC7U&7UDC7U&7UDC7U&7UDC7U&7U'7UDC7U'7UDD7U '7UD D7U0'7UD@D7U7UD`D7U7UDD7U7UDD7U7UDD7U7UDD7Uо7UDE7U7UD E7U7UD@E7UPageHeigm? 7UD M7U7UDM7U)7UDM7U(7UDM7U)7UDM7U_85UZ85UpS7UD7US7UD@7US7UD`7US7UD7US7UD7U_85UZ85UY7UD7UY7UD 7UY7UD@7UZ7UD`7UZ7UD7U_85UZ85U7UD7U 7UD7U07UD7U@7UD 7U(7UD@7U_85UZ85U@7UDP7Up7UD7U7UDР7U7UD7U7UD7U_85UZ85U@7UDp7Up7UD7U7UD7U7UD7U7UD07U_85UZ85U7UD 47U7UD47UЪ7UD47U7UD47U7UD47U_85UZ85UF7UDw7UG7UDw7U G7UDx7U0G7UD0x7U@G7UDPx7U_85UZ85U0M7UD07U`M7UD7UpM7UD7UM7UDа7UM7UD7U_85UZ85U7UD7U7UD7U7UD7Ules/view!0XX7U!45X7U!39W7U!2017-03-31 16:06:33U!2021-04-14 20:49:16U!0000-00-00 00:00:00U!WW7U1425804W(7U0An arrangement for D Trumpet , Lute & Keyboard of Purcell’s Dido’s lament. The Lute & DB are optional. Dido’s Lament" is the commonly used name for the noted aria, "When I am laid in earth", from the opera, Dido and Aeneas, by Henry Purcell (libretto by Nahum Tate). It is included in many classical music textbooks on account of its exemplary use of ground bass. The conductor Leopold Stokowski wrote a transcription of the piece for symphony orchestra. "Dido’s Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon’s Walk") and as the main theme to Downfall. It is played annually (by a military band) at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to November 11 (Armistice Day) in London’s Whitehall. 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>7U0C7U?7U8>7UP>7U@7UPD7UC7U;7Uhv7U=7U@7U<7U0=7Uh>7UA7U@<7UH@7U<7U;7U=7UHC7Uu7UxC7UD7UB7U>7U@B7UB7U<7UXB7U=7U=7UA7Uhange91["88308","168223","140556","78183","151528","59699","140617","140618","140520","188994","75247","4062","173346","4413","23092","6032","100330","32625","107764","79411"]rrangerName:07!2020-09-19 20:26:32!1W!2019-09-25 13:18:3819AACD8E0-DF8E-11E9-BB4F-78entYear!8327W!0W!0W!0W!1W!650x502W!0W!0W!5.00W!2023-04-20 02:50:30!2023-04-20 02:51:21!1571577W!1660947W!0000-00-00 00:00:00es!0000-00-00 00:00:0024-0Stanley’s Trumpet Voluntary, set in a lower key, for younger players with full Organ (pedals). Stanley (17 January 1712 - 19 May 1786) was an English composer and organist. Biography: Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. Works: Opus 1 Eight Solos for Flute and Continuo (1740) Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745) Opus 3 Six Cantatas (1742) Opus 4 Six Solos for Flute and Continuo (1745) Opus 5 Ten Voluntaries for Organ (1748) Opus 6 Ten Voluntaries for Organ (1752) Opus 7 Ten Voluntaries for Organ (1754) Opus 8 Six Cantatas (1751) Opus 9 Three Cantatas (1751) Opus 10 Six Concertos for Organ or Harpsichord (1775) Preceded by William Boyce Master of the King’s Music 1779-1786 Succeeded by William Parsons. Follow this link to a live performance: https://uk.video.search.yahoo.com/search/video;_ylt=AwrJS5j8zvtfkyEAZyoM34lQ;_ylu=Y29sbwNpcjIEcG9zAzEEdnRpZAMEc2VjA3Nj?p=keith+terrett+youtube&fr=mcafee#id=11&vid=c29d621f71bcda969ac75445a422656c&action=view 7UdefScor["47298","155148","83059","200806","173031","47359","51458","83062","108338","49937","83054","145873","150500","84254","27679","36461","74290","417281","85717","62780"]7UЧ7U!2020-09-02 18:26:24U!1WȦ7U!2019-09-25 12:47:38U145D471BA-DF8A-11E9-A548-787UH7U!5304W!0W!0W7U!1W7U!0W7U!1W An arrangement for younger players not wishing to play in the clarino tessitura, of John Stanley’s Trumpet Voluntary; with full Organ accompaniment and pedals. My thanks are extended to David Wheatley, for allowing me to study his Organ writing in depth. A full range of transposed Trumpet parts are available,I attach parts for solo Trumpet in Bb. E-mail me if you require something else. Stanley (17 January 1712 - 19 May 1786) was an English composer and organist. Biography: Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. Works: Opus 1 Eight Solos for Flute and Continuo (1740) Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745) Opus 3 Six Cantatas (1742) Opus 4 Six Solos for Flute and Continuo (1745) Opus 5 Ten Voluntaries for Organ (1748) Opus 6 Ten Voluntaries for Organ (1752) Opus 7 Ten Voluntaries for Organ (1754) Opus 8 Six Cantatas (1751) Opus 9 Three Cantatas (1751) Opus 10 Six Concertos for Organ or Harpsichord (1775) Preceded by William Boyce Master of the King’s Music 1779-1786 Succeeded by William Parsons. @face_al!0]17U!0W!8W!2013-04-09 04:59:50!0W!0W Stanley Trumpet Voluntary for Bb Trumpet & Organ + Pedals (Lower version) John Stanley Keith Terrett Music for all Occasions Stanley’s Trumpet Voluntary, set in a lower key, for younger players with full Organ (pedals). Stanley (17 January 1712 - 19 May 1786) was an English composer and organist. Biography: Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. Works: Opus 1 Eight Solos for Flute and Continuo (1740) Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745) Opus 3 Six Cantatas (1742) Opus 4 Six Solos for Flute and Continuo (1745) Opus 5 Ten Voluntaries for Organ (1748) Opus 6 Ten Voluntaries for Organ (1752) Opus 7 Ten Voluntaries for Organ (1754) Opus 8 Six Cantatas (1751) Opus 9 Three Cantatas (1751) Opus 10 Six Concertos for Organ or Harpsichord (1775) Preceded by William Boyce Master of the King’s Music 1779-1786 Succeeded by William Parsons. Follow this link to a live performance: https://uk.video.search.yahoo.com/search/video;_ylt=AwrJS5j8zvtfkyEAZyoM34lQ;_ylu=Y29sbwNpcjIEcG9zAzEEdnRpZAMEc2VjA3Nj?p=keith+terrett+youtube&fr=mcafee#id=11&vid=c29d621f71bcda969ac75445a422656c&action=view eSorting!!0XZh was la!0Wa;7U!0W;7U!0WScores!2017-03-31 12:03:23ork!2021-01-11 05:18:03U!0000-00-00 00:00:00U!WW<7U!6533WeScores!1W @!3Wam Henry!8.00W<7U!4.00W<7U!8.00WScores!4.00X? !0Wimes con!WWA=7U!0.00Wg=7U!650x918XScores!0We10W7Uh7U0!sib[=7U!250W!0W!2020-02-18 11:59:16!2Wlocal/sh!3152Whaarcasc!2Wusr/loca!1.50X_7U!2020-02-18 11:59:17U!1W^7U!0WP^7U!168501W@_7U!1X]7U!0W\7U11W^7U0!2(Zop","posThe Lord is my Shepherd arranged for Brass Quartet, with a sparkling final verse for Piccolo Trumpet. The Bb Trumpet part of the final verse can be performed on Piccolo Trumpet, or transposed an octave lower on Bb. Great piece for a baptism! 24379","1060!3.00W7","2350!0W306","32!1W37","146!0W 00:45:1!WW355B3BFA!WW0010!0W-03-26 0!WW:465690!WW0:00:001WW0a Jesus Christ is Risen Today, arranged for Brass Quartet, with a sparkling Bb Piccolo Trumpet descant; which could be performed on a D, Eb or Piccolo in Bb/A. There is an alternative Descant part provided one octave lower if required e-mail me if you need it: keithterrett@gmail.com This arrangement was made for Nathaniel Mayfield and his Brass ensemble in the USA. Listen to Nathaniel on Youtube if you would like to hear an amazing player! This arrangement is a must for your Easter performance! There is also an arrangement in-store for three Bb Trumpets & Trombone. This famous Christian Easter Processional Hymn has been artfully arranged by Keith Terrett for Brass Quartet with Bass Trombone or Tuba on the bottom part. The Hymn’s origin goes back to the 14th century and was eventually added to the John Wesley hymnal in 1739. This arrangement has one harmonization for all of the verses, and a final more elaborate section for optional piccolo trumpet (which can be performed down the octave very easily). The arrangement can be performed by intermediate level players and can be an important part of your Easter service. Trumpet parts are in B-flat. If you require another transposition, let me know. "Jesus Christ Is Risen Today" was first written in Latin titled "Surrexit Christus hodie", as a Bohemian hymn in the 14th century by an unknown author on manuscripts written in Munich and Breslau. In Latin, it had eleven verses. It was first translated into English in 1708 by John Baptist Walsh to be included in his Lyra Davidica (Collection of Divine Songs and Hymns). The verses of the hymn were revised in 1749 by John Arnold. Initially the hymn only had three verses translated with just the first verse being a direct translation; in 1740 Charles Wesley (one of the founders of Methodism) added a fourth verse to the hymn as an alternative, which was later adopted into the hymn as part of it. The hymn is also noted for having Alleluia as a refrain after every line. The hymn is set to a piece of music entitled "Easter Hymn" which was composed in the Lyra Davidica for "Jesus Christ Is Risen Today". There was a later version of "Easter Hymn" composed by William Henry Monk which is also used for "Jesus Christ Is Risen Today". Some denominations of Christianity often just use one while some use both. The hymn is sometimes confused with "Christ the Lord Is Risen Today", which was written by Wesley. This is because the wording is similar and "Christ the Lord Is Risen Today" is usually likewise sung to "Easter Hymn" with Llanfair generally being the most common alternative .terScoreAndPa Jesus Christ is Risen Today for Classical Brass Quartet (with high Bb Piccolo Trumpet Descant) John Wesley Keith Terrett Music for all Occasions Jesus Christ is Risen Today, arranged for Brass Quartet, with a sparkling Bb Piccolo Trumpet descant; which could be performed on a D, Eb or Piccolo in Bb/A. There is an alternative Descant part provided one octave lower if required e-mail me if you need it: keithterrett@gmail.com This arrangement was made for Nathaniel Mayfield and his Brass ensemble in the USA. Listen to Nathaniel on Youtube if you would like to hear an amazing player! This arrangement is a must for your Easter performance! There is also an arrangement in-store for three Bb Trumpets & Trombone. This famous Christian Easter Processional Hymn has been artfully arranged by Keith Terrett for Brass Quartet with Bass Trombone or Tuba on the bottom part. The Hymn’s origin goes back to the 14th century and was eventually added to the John Wesley hymnal in 1739. This arrangement has one harmonization for all of the verses, and a final more elaborate section for optional piccolo trumpet (which can be performed down the octave very easily). The arrangement can be performed by intermediate level players and can be an important part of your Easter service. Trumpet parts are in B-flat. If you require another transposition, let me know. "Jesus Christ Is Risen Today" was first written in Latin titled "Surrexit Christus hodie", as a Bohemian hymn in the 14th century by an unknown author on manuscripts written in Munich and Breslau. In Latin, it had eleven verses. It was first translated into English in 1708 by John Baptist Walsh to be included in his Lyra Davidica (Collection of Divine Songs and Hymns). The verses of the hymn were revised in 1749 by John Arnold. Initially the hymn only had three verses translated with just the first verse being a direct translation; in 1740 Charles Wesley (one of the founders of Methodism) added a fourth verse to the hymn as an alternative, which was later adopted into the hymn as part of it. The hymn is also noted for having Alleluia as a refrain after every line. The hymn is set to a piece of music entitled "Easter Hymn" which was composed in the Lyra Davidica for "Jesus Christ Is Risen Today". There was a later version of "Easter Hymn" composed by William Henry Monk which is also used for "Jesus Christ Is Risen Today". Some denominations of Christianity often just use one while some use both. The hymn is sometimes confused with "Christ the Lord Is Risen Today", which was written by Wesley. This is because the wording is similar and "Christ the Lord Is Risen Today" is usually likewise sung to "Easter Hymn" with Llanfair generally being the most common alternative .angeScores_85U87UW7U`85UP7Ux7Uc`7Uh7Uf`7U7U25U7U25U7U25Uȏ7U7U c2U7U"c2U7U(g85U7Ug85U(7UW4U@7UXf85UX7Ue85Up7U7Uc85U7U7UOm2U7U7U m2U7U07UX~`2UА7U7U`2U7UHb85U7U7U&_2U7UhAT2U07U8DT2UH7U>T2U`7UPX7U7Ux7U4U7U؁7UH5U7U 7U(t85U7Up85Uؑ7UX7Uj6U7U885U7UI85U 7Uh7U85U87Uxa85U7U85Ud7U6Ud7UW7UH4UPm3UX2U3Uh4U3U`W7U6Ue7U6U(e7UY7Uh_2U67U85UPd7U885Ud7U85U67UȂ7U^i2U67UΌ2U77Un4U77U2U077Uh[7U2UH77U\7U5U@7U4U7UX8UX7U`7U5U 7Ua7Ux6o3U7U6U(7U(b2U7U+_2Uؔ7U,_2U7Uh/_2U7U6U 7Up\7UX:5U87Ux4UP7Uh5o3Uh7Uh2U7U/_2U7U 4U7U^7U16Uȕ7U(b7U46Uh 7U=4U 7U45U 7UH1_2U 7U85U 7U85U 7UXDe3U 7U87U 7U؝2U( 7UX85U@ 7U85UX 7U)6Up 7U885U 7U85U 7U85U 7Up,5U 7Ux85U 7U_7UH85U 7U85U 7U^7U4U0 7U2UH 7UH`7UX2U` 7U85Ux 7UX 85U 7UH!85U 7U"85U 7U3U 7UH%85U 7U]7U&85U 7U(6U 7U&85U8 7UhG85UP 7U8<25Uh 7U`]7U 6U 7UZ85U 7UP6U 7U5U 7UA6U 7U)_2U 7U54U7U_85U(7U_85U@7Ub7U`85UX7U0]7Uc`7Up7Uf`7U7U25U7U25U7U25U7UP^7U c2U7U"c2U7U(g85U7Ug85U07UW4UH7UXf85U`7Ue85Ux7U\7Uc85U7Ux`7UOm2U7U\7U m2U7U_7UX~`2U7U]7U`2U7UHb85U7U_7U&_2U 7UhAT2U87U8DT2UP7U>T2Uh7Ub7U7U7U4U7U]7UH5U7U`7U(t85U7Up85U7Ub7Uj6U7U885U7UI85U(7U a7U85U@7Uxa85U3U85U3U6U7Ua7UH4U 7UX2U3Uh4U87Ua7U6Uȉ7U6U7Ud7Uh_2U`77U85U7U885U7U85Ux77U^7U^i2U77UΌ2U77Un4U77U2U77Ue7U2U77U`7U5U7U6U07U4U7U`f7U5UH7U7Ux6o3U7U8U7U(b2U7U+_2U7U,_2U7Uh/_2U7U6U(7U7U!6.00Y_7U!3.00W!0Wa7U!0W!1W@_7U!0Wb7U!0W\7U!0Wa7U!WWp_7U!0.00W]7U["95548","66817","34306","46577","96875","24379","78918","106045","6327","87837","32624","23506","95306","96877","126789","23508","146096","50885","106046","48950"]U!2020-09-24 13:00:54Psalm 23 is a popular Psalm to set to arrange to music with a large number of different lyrics and musical arrangements appearing through the ages to present day. Without doubt, the most familiar and well known version of this Psalm is that which is found in the Scottish Psalter of 1650 set to the tune Crimond. Scottish Psalter 1650 The words from the Scottish Psalter is a merger of a number of different metrical Psalters and poetry such as from Zachary Boyd pastor of Barony Church in Glasgow and vice-chancellor of Glasgow University he wrote his metrical version of Psalm 23 in 1646, Sir William Mure of Rowallan, born 1594, who fought under Cromwell in the Civil war and Francis Rous born 1579, who also supported Oliver Cromwell serving as Member of Parliament for Truro and Speaker of the Barebones Parliament, who ´s poetry contributed to the second line of the 1650 Psalter. Crimond - Irvine The Tune Crimond first appeared in 1872 in The Northern Psalter accompanying the words to the hymn " I Am The Way The Truth And The Life ". This tune was credited to David Grant, an amateur musician, however it was claimed that Grant was not the composer but simply in receipt of the music to help harmonized it for the true composer Jessie Irvine. . The Scottish Psalter of 1929 credits Irvine as being the composer although it is still disputed by some. Jessie Seymour Irvine 1836-1883 was the a daughter of a parish minister who served at Dunottar, Peterhead7U7U!0Z7Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } 7U!0.0000W !2020-02-18 12:00:20QThe Lords my Shepherd for Brass Quartet Piccolo Trumpet7U@7U!0W!0W?!4W7U!2013-04-12 13:13:15U!0W!0W?!2024-01-29 16:49:59U!0000-00-00 00:00:00U!WW!1383W?!1W7U!3Wh7U!6.00W!!13.00W?0AF3A7410-DF8D-11E9-B562-78383FEA0E1UrsionStarted!583292WScoresQDeclamation for Bb-A Piccolo Trumpet, Bb Flugelhorn & Organ.sibQDeclamation & Soliloquy Bb/A Piccolo Trumpet & Bb Flugelhorn & Organs!60WZipForma!29Whange-0!4WrsionDat!1We390126!2022-09-01 16:16:00es!2022-09-02 01:21:16empt!58Xw7UqCopyright © 2007 www.musicforalloccasions.org.uk(keithterrett@gmail.com) Edited 2014 & August 2022!sibWScores!250WuantityS!0WurchaseQ!2022-09-01 16:16:000126!0W0u7U!354Wu7U!0WSE::Scor!Keith Terrett0899202!WW1261417!2007Wu7U!0W 2U57UD7U2U57Uv7U5Ud7U4Upe7UxE7UЇ7U?7U5UP7U{7Ux6o3UXe7U6Uc7U(b2Ue7U+_2Ue7U,_2Ue7Uh/_2Ue7U6Ue7Uv7UX:5Uf7Ux4Uf7Uh5o3U0f7Uh2UHf7U/_2U`f7U 4Uxf7Ux7U16Uf7U8|7U46Uf7U=4Uf7U45Uf7UH1_2Uf7U85Ug7U85U g7UXDe3U8g7U87UPg7U؝2Uhg7UX85Ug7U85Ug7U)6Ug7U885Ug7U85Ug7U85Ug7Up,5Uh7Ux85U(h7Uy7UH85U@h7U85UXh7Ux7U4Uph7U2Uh7UXz7UX2Uh7U85Uh7UX 85Uh7UH!85Uh7U"85Ui7U3Ui7UH%85U0i7Uw7U&85UHi7U(6U`i7U&85Uxi7UhG85Ui7U8<25Ui7Upw7U 6Ui7UZ85Ui7UP6Ui7U5Uj7UA6U j7U)_2U8j7U54UPj7U_85Uhj7U_85Uj7U |7U`85Uj7U@w7Uc`7Uj7Uf`7Uj7U25Uj7U25Uj7U25Uk7U`x7U c2U(k7U"c2U@k7U(g85UXk7Ug85Upk7UW4Uk7UXf85Uk7Ue85Uk7Uv7Uc85U7Uz7UOm2U 7Uv7U m2U87Uy7UX~`2UP7Uw7U`2Uh7UHb85U7Uy7U&_2U7UhAT2U7U8DT2UȆ7U>T2U7U|7U7U7U4U7Uw7UH5U(7Uz7U(t85U@7Up85UX7U|7Uj6Up7U885U7UI85U7U0{7U85U7Uxa85Uo3U85Um3U6U7U{7UH4U 7UX2Ug3Uh4Uh7U{7U6U7U6U7U~7Uh_2U67U85U87U885U7U85U(67Ux7U^i2U@67UΌ2UX67Un4Up67U2U67U7U2U67U(z7U5Uhd7U6U7U4U(7Up7U5U7UW7Ux6o3U7UH7UP7U(b2U@7U+_2UX7U,_2Up7Uh/_2U7U6U7U7UX:5U7Ux4UЊ7Uh5o3U7Uh2U7U/_2U7U 4U07U(7U16UH7UW7U46U`7U=4Ux7U45U7UH1_2U7U85U7U85U؋7UXDe3U7U87U7U؝2U 7UX85U87U85UP7U)6Uh7U885U7U85U7U85U7Up,5UȌ7Ux85U7U7UH85U7U85U7U7U4U(7U2U@7U7UX2UX7U85Up7UX 85U7UH!85U7U"85U7U3UЍ7UH%85U7UH7U&85U7U(6U7U&85U07UhG85UH7U8<25U`7U7U 6Ux7UZ85U7UP6U7U5U7UA6U؎7U)_2U7U54U7U_85U 7U.000000[7U7UX7UDp7U X7UD7U0X7UD7U@X7UD7UPX7UD7U`X7UpX7UX7UX7UP%85UX7UD7UX7UD07UX7UDP7UX7UDp7UX7UD7UX7UD7UY7UD7UY7UDp7U Y7UD7U7Uc7U`7UD7U_85UZ85U'7UD@7U (7UD7U0(7UD7U@(7UD7UY7U 7U 8U27U@e7U?8U^R8U7UD@37UP7UDp7U7U7UD7U8UD8U8UD`8U@8UD8U7UD7U`7UD7U 7UD7U07UD07UPZ7U  |7U7UD7U@Z7UD7UPZ7UD7U`Z7UD7UpZ7UD7UZ7UD7UZ7UD7UZ7UD 7UZ7UD7UZ7UD7UZ7UD7UZ7UD7UZ7UD07U[7UDm7U[7UD0m7U [7UDPm7U0[7UD@7U@[7UD`7UP[7UD7U`[7UD7Up[7UDn7U[7UD B7U[7UDn7U[7UDn7U[7UDn7U7UDo7U7UD o7U7UD@o7U7UD`o7U7UDo7U7UDo7U7UDo7U7UDpm7U 7UDm7U07UDm7U@7UDm7UP7UDm7U`7UD 7Up7UDn7U7UD0n7U7UDPn7U7UDq7U7UDr7U7UDr7U7UDr7U7UDr7Up85U7UD0s7U7UDPs7U7UDps7U 7UDs7U07UDs7U@7UDs7U6UP7UD pL7U`7UDs7Up7UDt7U7UD0t7U7UDPt7U7UDpt7U7UD7U7UD7U7UD 7U7UD@7U7UDt7U7UDt7U7UDt7U 7UD`7U07UD7U@7UD7UP7UD7U`7UD7Up7UDo7U7UDp7U7UD p7U7U7UD@p7U7UD`p7U7UDp7U7UDp7U7UDp7U7UDp7U7UDq7U 7UDq7U07UDq7U@7UD7UP7UD07U`7UD`7U@7U7UP(7UD7U_85UZ85U@.7UD7Up.7UDP7U.7UDp7U.7UD7U0Z7U `7U 8U207U7UH7UG3U`F7UDv7UP7UD7U7U7UD7U`8UD 8UP8UD8U8UDpE8UУ7UD7U`7UD7U 7UD07U07UDP7UZ7U  7U`7UD0g:5Up7UD g:5U7UDg:5U7UDh:5U7UD0h:5U7UDPh:5U7UDph:5U7UDh:5U7UD=7U7UD=7U7UD=7U7UDPg:5U 7UD>7U07UD >7U87UThe Lord’s my Shepherd for Brass Quartet & Piccolo Trumpet Jessie Seymour Irvine Keith Terrett Music for all Occasions The Lord is my Shepherd arranged for Brass Quartet, with a sparkling final verse for Piccolo Trumpet. The Bb Trumpet part of the final verse can be performed on Piccolo Trumpet, or transposed an octave lower on Bb. Great piece for a baptism! !0W!0W!0W!0W!2017-03-31 13:37:17A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":225,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"CCADDA02-160E-11E7-A951-DD38D4A42C01","position-x-pc":"0"}ge?!0W!300W!225W`7U0f7Ue7Uh^7U0`7U8a7Uha7U@e7Uc7Ud7Ua7U`7U\7Ue7Ud7U``7U d7U!3U^7Ux]7Uc7Upe7Ud7Uc7U(e7U_7Ue7U@b7UXb7Ue7Ub7Uc7U`7U`7Uf7Upb7Ud7U]7U_7U0c7Uxc7Uc7Ua7Uhd7U(_7U8d7U`7U@_7UX_7Ua7UXe7Ud7U\7UHf7U ^7Ua7U]7U8^7Up_7Ub7UH]7UPa7U]7U(\7U^7UPd7Uf7Ud7Ue7Uc7U_7UHc7Uc7U]7U`c7U^7U^7Ub7UPhotoHei!1^7U!2019-09-25 13:01:31136AA0B9E-DF8C-11E9-BF25-78~7U!25542W!0W!0W!1W!0W!1W!650x459W!0W!0W!5.00W!2023-04-27 14:52:28!2023-04-27 14:52:45!1139205W!1277357W!0000-00-00 00:00:00!0000-00-00 00:00:00 08*0$(FH=@  .0y`hCHKP $(9@ ;@pxhp#( (eScoresP 7U7U7UD07U7UDP7UТ7UDp7U7UD7U7UD7U7UD7U7UD7U 7UD7U07UD07U@7UD7UP7UD7U`7UD7Up7UD7U7UD7U7UD7U7UD 7U7UDP7U7U7Up7UDP7U_85UZ85U`7UD@7U7UD7U7UD7U7UD7UZ7U p3U07U27U7U7U3U@7UD7UF7UDw7U7UpF7UDv7U`H8UD8UH8UD8UN8UDp8UF7UD0w7UG7UDw7UF7UDPw7UF7UDpw7U[7U  7U 7UD3U7UD3UФ7UD3U7UD03U7UDP3U7UDp3U7UD3U 7UD3U07UD`3U@7UD3UP7UD3U`7UDp3Up7UD3U7UD3U7UD3U7UD3U7UD 3U7UD3UХ7UD3U7UD3U7UD03U7UD `7U7UD@7U 7UD`7U07UD7U@7UD7UP7UD7U`7UD7Up7UD7U7UD 7U7UD @7U7UD7U7UDP7U7UDp7UЦ7UD7U7UD7U7UD7U7UD 7U7UD7U 7UD7U07UD07U@7UD@7UP7UD`7U`7UD7Up7UD7U7UD7Up85U7UD`7U7UD7U7UD7U7UD7UЧ7UD7U7UD7U6U7UD 7U7UD 7U7UD 7U 7UD 7U07UD 7U@7UD 7UP7UDP7U`7UDp7Up7UD7U7UD7U7UD 7U7UD7U7UD7U7UD7UШ7UD7U7UD 7U7UD@7U7U7UD`7U 7UD7U07UD7U@7UD7UP7UD7U`7UD7Up7UD 7U7UD@7U7UD`7U7UD7U7UD17U7UD27UЩ7UD27U7UD27U7UD27U7UD 37U07U7U7UD7U_85UZ85U07UD$7U`7UDp$7Up7UD$7U7UD$7UZ7U R7U`7U2 7U7U87U7U7UD7U@M7UDP7U7UL7UDp7UN8UD8UN8UD8U8UD:8UL7UDP7UPM7UDp7UM7UD7U M7UD7UP[7U  q7U7UDГ7U7UD@7U 7UDp7U07UD7U@7UD7UP7UDД7U`7UD7Up7UD7U7UD7U7UD7U7UD7U7UD7U7UD@$2UЫ7UD`$2U7UD$2U7UD$2U7UQf7U!1.99XФ7U!2021-01-11 05:25:05U!1WX7U!0W7U!114930W7U!1X7U!1W7U11W7U0!3Z!4.00hZ !0W!1W!0W!WWv !WW!0WP!WWa© 2007 www.musicforalloccasions.org.uk(keithterrett@gmail.com)Photocopying is illegal.!WW!0X{ "GroupOrd" : "230", "StoreGroupOrd" : "230", "StoreGroupID" : "3047", "GroupID" : "22222" } !7.0400W!2021-01-11 05:27:35aStanley Trumpet Voluntary for Bb Trumpet Organ Pedals Lower version`f7UX:5U@7Ux4UX7Uh5o3Up7Uh2U7U/_2U7U 4U7U7U16U7U`7U46U7U=4U7U45U7UH1_2U07U85UH7U85U`7UXDe3Ux7U87U7U؝2U7UX85U7U85U7U)6U7U885U7U85U 7U85U87Up,5UP7Ux85Uh7U7UH85U7U85U7U7U4U7U2U7U7UX2U7U85U7UX 85U7UH!85U(7U"85U@7U3UX7UH%85Up7U8g7U&85U7U(6U7U&85U7UhG85U7U8<25U7U7U 6U7UZ85U7UP6U07U5UH7UA6U`7U)_2Ux7U54U7U_85U7U_85U7UH7U`85U7Uh7Uc`7U7Uf`7U7U25U 7U25U87U25UP7U7U c2Uh7U"c2U7U(g85U7Ug85U7UW4U7UXf85U7Ue85U7Ug7Uc85U7U7UOm2U(7Uf7U m2U(7U 7UX~`2U@7U7U`2UX7UHb85Up7U7U&_2U7UhAT2U7U8DT2U7U>T2UЯ7U7U7U7U4U7U7UH5U7U7U(t85U07Up85UH7U7Uj6U`7U885Ux7UI85U7UX7U85U7Uxa85U8d7U85U7U6U7U7UH4U3UX2U@3Uh4U3U7U6UH7U6U`7U@7Uh_2U87U85U7U885U07U85U 87U7U^i2U887UΌ2UP87Un4Uh87U2U87U7U2U87UP7U5U7U6U7U4U7U7U5U7UP7Ux6o3U7U 8U@7U(b2U07U+_2UH7U,_2U`7Uh/_2Ux7U6U7U7UX:5U7Ux4U7Uh5o3Uس7Uh2U7U/_2U7U 4U 7UP7U16U87U7U46UP7U=4Uh7U45U7UH1_2U7U85U7U85Uȴ7UXDe3U7U87U7U؝2U7UX85U(7U85U@7U)6UX7U885Up7U85U7U85U7Up,5U7Ux85Uе7U@7UH85U7U85U7U 7U4U7U2U07U7UX2UH7U85U`7UX 85Ux7UH!85U7U"85U7U3U7UH%85Uض7Up7U&85U7U(6U7U&85U 7UhG85U87U8<25UP7U7U 6Uh7UZ85U7UP6U7U5U7UA6Uȷ7U)_2U7U54U7U_85U7U_85U(7U7U`85U@7U7Uc`7UX7Uf`7Up7U25U7U25U7U25U7U7U c2Uи7U"c2U7U(g85U7Ug85U7UW4U07UXf85UH7UScores!1.99XH7U!2022-06-21 07:26:04U!1W7U!0W7U!0Wx7U!0X7U!0W g7U11W07U0AAn arrangement of my popular original work set for Bb Piccolo Trumpet & Piano, entitled Fanfare & Soliloquy. Would love to hear this performed live, any takers? Fanfare & Soliloquy is an outstanding choice for a recital or contest piece for a professional level player of Trumpet. The rousing Fanfare appears both at the beginning and end of the work, surrounding the lovely Soliloquy. While quite dramatic and featuring a few sections of technical challenge for the soloist, the work is also quite short and accessible - and a clear audience-pleaser! A skilled accompanist would be most helpful given the mixed meters and frequent tempo changes; however, the work would also be a manageable challenge for a young pianist working on his or her accompanying skills! Overall, the piece helps to fill an important void for Piccolo Trumpet repertoire - that of new, original works for the instrument which are accessible for musician and audience alike. Check out the album Soprillogy, where you can hear Nigel Wood’s performance on the Soprillo Saxophone.geWidthmm!^^7UqCopyright © 2012 Music for all Occasions (keithterrett@gmail.com) Edited March 3rd 2012ScoresPageHeig!WW!2020-04-07 14:09:05U!2017-06-13 16:21:21!WW07U!9483W!1Wx7U!3WH7U!10.00W g7U!5.00W@7U!10.00W7U!5.00W7U!0W7U!0Wx7U!1W!0W`7U!1W10W07UX7U0An arrangement of my popular original work set for Bb Piccolo Trumpet & Piano, called Fanfare & Soliloquy. The attached MP3 recording is taken from Nigel Wood’s CD entitled Soprillogy:http://soprillo.com/soprillogy.php Fanfare & Soliloquy is an outstanding choice for a recital or contest piece for a professional level player of Trumpet. The rousing Fanfare appears both at the beginning and end of the work, surrounding the lovely Soliloquy. While quite dramatic and featuring a few sections of technical challenge for the soloist, the work is also quite short and accessible - and a clear audience-pleaser! A skilled accompanist would be most helpful given the mixed meters and frequent tempo changes; however, the work would also be a manageable challenge for a young pianist working on his or her accompanying skills! Overall, the piece helps to fill an important void for Piccolo Trumpet repertoire - that of new, original works for the instrument which are accessible for musician and audience alike. !0^`7U!WW!0.0000W!2022-06-21 07:31:15AFanfare Soliloquy for Bb Piccolo Trumpet Piano7U!0W!0W!7W!2013-04-14 07:02:22!0W!0WFanfare & Soliloquy for Bb Piccolo Trumpet & Piano Keith Terrett Music for all Occasions An arrangement of my popular original work set for Bb Piccolo Trumpet & Piano, entitled Fanfare & Soliloquy. Would love to hear this performed live, any takers? Fanfare & Soliloquy is an outstanding choice for a recital or contest piece for a professional level player of Trumpet. The rousing Fanfare appears both at the beginning and end of the work, surrounding the lovely Soliloquy. While quite dramatic and featuring a few sections of technical challenge for the soloist, the work is also quite short and accessible - and a clear audience-pleaser! A skilled accompanist would be most helpful given the mixed meters and frequent tempo changes; however, the work would also be a manageable challenge for a young pianist working on his or her accompanying skills! Overall, the piece helps to fill an important void for Piccolo Trumpet repertoire - that of new, original works for the instrument which are accessible for musician and audience alike. Check out the album Soprillogy, where you can hear Nigel Wood’s performance on the Soprillo Saxophone.!0x^p7U!0W!0W!0W!2017-03-31 15:16:19A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":201,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"A288C814-161C-11E7-BA74-FD867F453A6A","position-x-pc":"0"}7U$7U!0W!300W!188W7Uh7U7U7Uh7Up7U7Ux7U87U07U7U(7Uf7U7U7U7UX7Up3U@7U7U(7U7U7U7U`7U7U 7Ux7U7UH7U 7U7U7U87U87U7U7U7UH7Uh7U7UP7U07U7U`7Up7U7Ux7U7U7U7U7U g7U7UX7U@7UP7Up7U7U7U7U7U7Uxf7U7U7UP7U7U7U7U7U7U7U(7U7U7U07U7U!^8^7U!0.00W["30453","165969","4738","110038","164401","106451","71441","105007","170016","485537","72890","89675","113968","94819","5297","91621","61060","62217","469643"]?!2020-09-16 20:00:44!1W!2020-04-07 14:07:431C44838E4-78D0-11EA-AEE7-788383FEA0E1!9638W!0W!0W!1W!0W!1W!650x918W!0W!0W!5.00W!2023-04-21 22:00:52!2023-04-21 22:01:42!2653846W!2991474W!0000-00-00 00:00:00!0000-00-00 00:00:00!1X !2018-08-28 12:45:37!2018-08-28 12:46:41A(Processing score - uploaded via Sibelius)e!2018-08-28 12:45:37!0W !2017-06-09 17:10:17U!0000-00-00 00:00:00!WW@+7U!996327W!0W(7U!0WX+7U!0.00W0&7U!4.59WP*7U!2.60W(7U!0W '7U!WW'7U!0.00W+7UQ/7UA7U1^86563@!0$2U}]},"hei!121363Wbined":"!1xXr","posi!0Wy-combin!1Wr-x":129!0W.16666661Czardas for C Trombone Pianoforte6BFE!0W !1.50X7U!2019-07-26 16:02:34U!1W7U!0W7U!166377W7U!0X07U!0WX7U11Wh7U0Donizetti’s beautiful aria Una Furtiva Lagrima (The elixir of love), arranged for Bb Trumpet & Piano. There are more Italian arias and Neapolitan songs in my store! Una furtiva lagrima (A furtive tear) is the romanza taken from Act II, Scene VIII of the Italian opera, L’elisir d’amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win his dream lady’s heart, Adina, works. Nemorino is in love with Adina, but she isn’t interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion, with all the money he has in his pocket. The love potion is actually a cheap red wine sold by a traveling con man. But when he sees Adina weeping, he knows that she has fallen in love with him and the Elixir works. Domenico Gaetano Maria Donizetti (29 November 1797 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti’s most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from L’elisir d’amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera. ?!1.99]07U!0W!1W!0W!WW!WW!0W!WWACopyright © 2011 MFAO(keithterrett@gmail.com)/7U!WW!0000-00-00 00:00:00U!WW!916127Wh7U!0W!08Y7U!0.00W7U!4.99WX7U!3.00Wx7U!0W7U!0WH7U!1W7U!0W7U!1W!0W7U!WW10.00Wh7U7U0Donizetti’s beautiful aria Una Furtiva Lagrima arranged for Bb Trumpet & Piano. Una furtiva lagrima (A furtive tear) is the romanza taken from Act II, Scene VIII of the Italian opera, L’elisir d’amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win his dream lady’s heart, Adina, works. Nemorino is in love with Adina, but she isn’t interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion, with all the money he has in his pocket. The love potion is actually a cheap red wine sold by a traveling con man. But when he sees Adina weeping, he knows that she has fallen in love with him and the Elixir works. Domenico Gaetano Maria Donizetti (29 November 1797 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti’s most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from L’elisir d’amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera. ?!0\07Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !0.0000W!2019-07-26 16:07:25QUna Furtiva Lagrima for Solo Bb Trumpet Piano Intermediate versionU!0W!0W!4W!2013-04-13 10:06:12!0W!0WaUna Furtiva Lagrima for Solo Bb Trumpet & Piano (Intermediate version) Donizetti Keith Terrett Music for all Occasions Donizetti’s beautiful aria Una Furtiva Lagrima (The elixir of love), arranged for Bb Trumpet & Piano. There are more Italian arias and Neapolitan songs in my store! Una furtiva lagrima (A furtive tear) is the romanza taken from Act II, Scene VIII of the Italian opera, L’elisir d’amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win his dream lady’s heart, Adina, works. Nemorino is in love with Adina, but she isn’t interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion, with all the money he has in his pocket. The love potion is actually a cheap red wine sold by a traveling con man. But when he sees Adina weeping, he knows that she has fallen in love with him and the Elixir works. Domenico Gaetano Maria Donizetti (29 November 1797 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti’s most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from L’elisir d’amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera. 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pxWXhpAH*0ScoreExcQ%7U1HS7UyA71587QDon t Get Around Much Anymore for Brass Quintet (SMP Press).sibADon’t Get Around Much Anymore for Brass Quintet!78883WQ7 julsangs Xmas carols popular in Norway for BrassMessing QuartetQ7 julsangs (Xmas carols) popular in Norway for Brass/Messing QuartetU!8W!0W!2W!2W!2021-06-10 12:33:29!2021-06-10 12:32:06U!Various8X07U!Keith Terrett7U!0W7U12007W0!sibWd7U!250WГ7U!0W7U!2021-06-10 12:33:29U!1WX=7U!2534W4U!1W4U!1.60Xȗ7U!2021-06-10 12:33:32U!1WP7U!0W7U!132394W7U!2021-06-10 12:32:05U!2017-06-12 20:39:51U1WW7U0!5XX7U!0.00X0X7U!12.39WPX7U!6.40WpX7U!0WX7U!WWX7U!0.00WX7U!650x917X`7U!0W7U!0W !Keith Terrett87U!0W7U!0W7U14W0!sibWfrontalf!250Wcal/shar!0Warcascad1Air on the G String(Scherzo Brass).sibe!2012-10-16 06:14:54_fro!2W]},"heig!2992Wined":"l!2W,"positi!1.00Y7U!2012-10-16 06:14:58U!1WX7U!1W7U!157464W7U!8XY7U!238W7U!211W7U!2017-06-09 17:10:17!0000-00-00 00:00:003333!WW03-11E7-!924145Wtion-x-p!0W\7U!0WeScores!0.00WpdatedP!5.99W !4.00W 10WA]7UH]7U0QCzardas for Trombone and Piano, with just a hint of the Rumba! The MP3 recording of Czardas is my concert band arrangement performed by Stadtmusik Biel with Stephan Gräub on Euphonium. Czardas arranged for Doublebass and Piano. Its origins can be traced back to the 18th century Hungarian verbunkos, used as a recruiting dance by the Hungarian army. Csardas is characterized by a variation in tempo: it starts out slowly’ and ends in a very fast tempo (friss, literally "fresh"). There are other tempo variations, such as the ritka csardas. The music is in 2/4 or 4/4 time. The dancers are both male and female, with the women dressed in traditional wide skirts, usually colored red, which form a distinctive shape when they whirl. Classical composers who have used csardas themes in their works include Franz Liszt, Johannes Brahms, Johann Strauss, Pablo de Sarasate, Pyotr Ilyich Tchaikovsky and others. Probably the best-known csardas is the eponymous composition by Vittorio Monti written for violin and piano. This virtuosic piece has 5 tempo variations. rts? An arrangement of the ever popular ’Czardas’ for solo Trombone and Piano (Monti’s famous hit), with a hint of the intoxicating Rumba rhythm! My sincere thanks are extended to Gordon Cherry(www.cherry-classics.com), for his advice and assistance with the solo Trombone par and also to Kevin Riley for his input. The flutter tongue section is optional, and may be omitted. Parts are available in Bb or in BC in Bb on request:keithterrett@gmail.com Tempi will need to be tempered for most Trombonists! Great arrangement for your next concert or recital, or just a great chart to augment your repertoire with. The MP3 recording of Czardas is my concert band arrangement performed by Stadtmusik Biel with Stephan Gräub on Euphonium. Czardas arranged for Doublebass and Piano. Its origins can be traced back to the 18th century Hungarian verbunkos, used as a recruiting dance by the Hungarian army. Csardas is characterized by a variation in tempo: it starts out slowly’ and ends in a very fast tempo (friss, literally "fresh"). There are other tempo variations, such as the ritka csardas. The music is in 2/4 or 4/4 time. The dancers are both male and female, with the women dressed in traditional wide skirts, usually colored red, which form a distinctive shape when they whirl. Classical composers who have used csardas themes in their works include Franz Liszt, Johannes Brahms, Johann Strauss, Pablo de Sarasate, Pyotr Ilyich Tchaikovsky and others. Probably the best-known csardas is the eponymous composition by Vittorio Monti written for violin and piano. This virtuosic piece has 5 tempo variations. g7U!2013-04-09 07:58:03U!0W!0WCzardas for C Trombone & Pianoforte Vittorio Monti Keith Terrett Music for all Occasions Czardas for Trombone and Piano, with just a hint of the Rumba! The MP3 recording of Czardas is my concert band arrangement performed by Stadtmusik Biel with Stephan Gräub on Euphonium. Czardas arranged for Doublebass and Piano. Its origins can be traced back to the 18th century Hungarian verbunkos, used as a recruiting dance by the Hungarian army. Csardas is characterized by a variation in tempo: it starts out slowly’ and ends in a very fast tempo (friss, literally "fresh"). There are other tempo variations, such as the ritka csardas. The music is in 2/4 or 4/4 time. The dancers are both male and female, with the women dressed in traditional wide skirts, usually colored red, which form a distinctive shape when they whirl. Classical composers who have used csardas themes in their works include Franz Liszt, Johannes Brahms, Johann Strauss, Pablo de Sarasate, Pyotr Ilyich Tchaikovsky and others. Probably the best-known csardas is the eponymous composition by Vittorio Monti written for violin and piano. This virtuosic piece has 5 tempo variations. s!0^l7U!0W!52W!26W!2017-03-31 12:19:581{"width":200,"position-y-pc":"26","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":44,"width":67,"x":71,"center-y":77.5,"height":67,"center-x":104.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":47,"width":63,"x":74,"center-y":78.5,"height":63,"center-x":105.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":46,"width":63,"x":73,"center-y":77.5,"height":63,"center-x":104.5}]},"height":300,"position-x-combined":"52%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":104.833333333333,"average-center-y":77.8333333333333,"id":"FFFCBA00-1603-11E7-B077-E9711E5990AE","position-x-pc":"52"}Scores!3W!873W!898W)7Ux/7U.7U'7Ux)7U*7U*7U.7UH,7U@.7U*7U8*7U&7U/7U(.7U)7Uh-7UQ3UP'7U&7U8-7U.7U-7U,7Up.7U(7U0/7U+7U+7UX.7U0,7U-7U*7UH)7UH/7U+7U-7U&7UX(7Ux,7U,7U`,7U@+7U-7Up(7U-7U)7U(7U(7U*7U.7U.7U0&7U/7Uh'7UP*7U`&7U'7U(7U,7U&7U*7U '7U%7U'7U-7U`/7U-7U/7U -7U)7U,7U,7U8'7U,7U(7U@(7U+7U["74640","72794","131216","413057","67049","197525","137458","195731","36433","38264","92185","103808","368847","19055","74352","64644","58286","72920","71738"]v7U!2020-09-14 12:22:26!0W!2021-05-26 17:53:311E6AA7380-BE42-11EB-92C6-788383FEA0E1Min!291998W!0W!0W!0W!0W!1W!650x919W!0W!0W!5.00W!2023-05-01 18:54:31!2023-05-01 18:54:40!975552W!917533W!0000-00-00 00:00:00!0000-00-00 00:00:0057U`x7UK7UD@7UK7UK7UK7UL7UL7U L7UD`7U0L7UD7U@L7UD7UPL7UD7U`L7UD7UpL7UD7UL7UD7UL7UD7UL7UD7Uy7U<7U7UD 7U_85UZ85U7UDN7U7UDp47U7UD47U7UD47Up[7U 7U7U2z7U>7UHv3U -7UD}7U 7UD7U0{7U7UD@7Up8UDp8U8UD8U8UDps8U7UD 7U07UD7U7UD`7U7UD7U[7U  7U`7UDS7UM7UD`T7UM7UDT7UM7UDT7UM7UDT7UM7UDU7UN7UD0U7UN7UDPU7U N7UDV7U0N7UD V7U@N7UD@V7UPN7UDP3U`N7UD`V7UpN7UDV7UN7UDV7UN7UDV7UN7UDpU7UN7UDU7UN7UDU7UN7UDU7UN7UDW7UN7UD @7UO7UD7UO7UD7U O7UD7U0O7UD7U@O7UD7UPO7UD 7U`O7UD@7UpO7UD`7UO7UD 7UO7UD7UO7UDV7UO7UDW7UO7UD W7UO7UD@W7UO7UD`W7UO7UD 07UP7UD7UP7UD7U P7UD7U0P7UD7U@P7UD7UPP7UD7U`P7UD7UpP7UDT7Up85UP7UD7UP7UD7UP7UD7UP7UD07UP7UDP7UP7UDp7U6UP7UD 7UP7UD@7UQ7UD`7UQ7UD7U Q7UD7U0Q7UD7U@Q7UD7UPQ7UD 7U`Q7UD@7UpQ7UD`7UQ7UDW7UQ7UDW7UQ7UDW7UQ7UD3UQ7UD3UQ7UD3UQ7UDX7UQ7UR7UD0X7UR7UDPX7U R7U0R7U@R7UPR7U`R7UpR7UDpX7UR7UDX7UR7UDX7UR7UD 7UR7UD7U7UD7U7UD7U 7UD07U07UD`7U`7Uz7U7UD47U_85UZ85U"7UD}7U#7UDP~7U #7UDp~7U0#7UD~7U[7U 7U7U2P7U|7U7U 8UP37UD7Up7UD@e7U7U7U8UDs8U8UDs8Uz8UD8U7UDB7U7UD`e7U@7UDd7UP7UDe7U\7U  7U 7UD3U@7UD@7UP7UD03U`7UD7Up7UD7U7UD7U7UD7U7UD7U7UDY7U7UDY7Uв7UDZ7U7UD Z7U7UDPZ7U7UDpZ7U7UDZ7U 7UDZ7U07UD7U@7UD0Y7U!TypeID3U !65990W!0.98Wh07U12021-06-18 18:07:52807U0A7 Popular carols in Norway for two Bb Clarinetsq7U!42W!511W!2W!2W!2021-06-18 18:07:50!2021-06-17 10:19:00!trad8X07U!Keith TerrettX17U!0Wh07U12006W0!sibW!250W!0W17 Popular Carols for 2 Bb Clarinets.sib!2021-06-18 18:07:50!1W!1850W!1W!1X7U!0WX17U!114043W7U!2021-06-13 19:10:55U!2017-06-12 19:45:18U!WW@17U!750365Wh07U10Wx7U0!6^7UXDe3U?7U87U@7U؝2U(@7UX85U@@7U85UX@7U)6Up@7U885U@7U85U@7U85U@7Up,5U@7Ux85U@7UP7UH85UA7U85UA7U07U4U0A7U2UHA7UȎ7UX2U`A7U85UxA7UX 85UA7UH!85UA7U"85UA7U3UA7UH%85UA7U07U&85UB7U(6U B7U&85U8B7UhG85UPB7U8<25UhB7U07U 6UB7UZ85UB7UP6UB7U5UB7UA6UB7U)_2UB7U54UC7U_85U(C7U_85U@C7U7U`85UXC7U07Uc`7UpC7Uf`7UC7U25UC7U25UC7U25UC7UЌ7U c2UC7U"c2UD7U(g85UD7Ug85U0D7UW4UHD7UXf85U`D7Ue85UxD7UP07Uc85UD7U7UOm2UD7U 07U m2UD7Uh7UX~`2UD7U@17U`2Ux7UHb85Ux7U 7U&_2Ux7UhAT2Ux7U8DT2Ux7U>T2Uy7U7U7Uy7U4U0y7U17UH5UHy7UX7U(t85U`y7Up85Uxy7UP7Uj6Uy7U885Uy7UI85Uy7U7U85Uy7Uxa85Ux7U85U7U6U7UH7UH4U3UX2U(3Uh4U3U7U6U87U6UP7U7Uh_2U:7U85Ux7U885U 7U85U:7U7U^i2U0:7UΌ2UH:7Un4U`:7U2Ux:7U 7U2U:7U7U5U(=7U6Uz7U4UH|7U7U5Uz7U7Ux6o3U0|7UX7Up7U(b2U`|7U+_2Ux|7U,_2U|7Uh/_2U|7U6U|7U(7UX:5U|7Ux4U|7Uh5o3U}7Uh2U }7U/_2U8}7U 4UP}7U7U16Uh}7U7U46U}7U=4U}7U45U}7UH1_2U}7U85U}7U85U}7UXDe3U~7U87U(~7U؝2U@~7UX85UX~7U85Up~7U)6U~7U885U~7U85U~7U85U~7Up,5U~7Ux85U7U7UH85U7U85U07Uh7U4UH7U2U`7U7UX2Ux7U85U7UX 85U7UH!85U7U"85U7U3U7UH%85U7U7U&85U 7U(6U87U&85UP7UhG85Uh7U8<25U7U7U 6U7UZ85U7UP6UȀ7U5U7UA6U7U)_2U7U54U(7U_85U@7U_85UX7UȚ7U`85Up7U7Uc`7U7Uf`7U7U25U7U25UЁ7U25U7U7U c2U7U"c2U7U(g85U07Ug85UH7UW4U`7UXf85Ux7Ue85U7U7Uc85U7U07UOm2U7UX7U m2U؂7U7UX~`2U7Ux7U`2U7UHb85U 7UX7U&_2U87UhAT2UP7U8DT2Uh7U>T2U7U@7U7U7U4U7U7UAn arrangement of 7 Carols popular in Norway and Scandinavia arranged for two Bb Clarinets. This arrangement is also suitable for other Bb instruments, and/or a mixture of Bb insts. These Carols make a refreshing change from the normal Christmas fayre, and would suit musicians looking for something different, to perform in concert or even at the local shopping mall!!1.98W!0W!1W!0W!WW!WW!0W!WWqCopyright © 2006, Music for all Occasions. All Rights Reserved. Photocopying is illegal.dImageUpdate!WW!0Y7U!0.00W!3.94Wx7U!1.96W!0W7U!WW7U!0.00Wh07U["120780","125138","128919","128921","128922","128916","128917","79140","128918","128920","128923","50562","120123","128924","127529","175659","127533","58131","33255"]7U!2020-09-11 20:56:52U!1W12021-06-10 18:04:11U7U0An arrangement of six Carols popular in Norway and Scandinavia for two Bb Trumpets. This arrangement is also suitable for other Bb instruments, or a mixture of Bb insts. These Carols make a refreshing change from the normal Christmas fayre, and would suit musicians looking for something different, to perform in concert or even at the local shopping mall!coreExchang!1W!0W!1W!0W{ "GroupOrd" : "320", "StoreGroupOrd" : "320", "StoreGroupID" : "3047", "GroupID" : "22222" } 7U7U!0.0000W!2021-06-18 18:11:28A7 Popular carols in Norway for two Bb Clarinets!0W!0W!4W!2013-04-13 13:20:00!0W!0W7 Popular carols in Norway for two Bb Clarinets trad Keith Terrett Music for all Occasions An arrangement of 7 Carols popular in Norway and Scandinavia arranged for two Bb Clarinets. This arrangement is also suitable for other Bb instruments, and/or a mixture of Bb insts. These Carols make a refreshing change from the normal Christmas fayre, and would suit musicians looking for something different, to perform in concert or even at the local shopping mall!U!0W!0W!0W!0W!2017-03-31 12:01:48A{"width":284,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"7611D386-1601-11E7-B14E-B83FD57A5F48","position-x-pc":"0"}7U !0W!276W!174W7U7U7U7U7U7U7U7U7Ux7U7Up7U807U87U`7U7U7U"3U17U07Up7U7U07U(7U7U7Uh7U7Uؐ7U7Uh7U@7U@7U7U7U7U7U(17U7U7U7U7Ux7U7U7U7U(7U7U؍7U07Uؓ7UH7Uh07UȔ7U17U7U07U17U7U87U07UЏ7UX17U/7U7UВ7U7U7UP7UX7U87Uȑ7U7Up17U7UH7Ux7U 7U1E02BD0FE-CA0D-11EB-B45F-788383FEA0E1!13091W!0W!0W!0W!0W!1W!650x918W!0W!0W!5.00W!2023-05-02 15:43:14!2023-05-02 15:43:46!2197432W!2866814W!0000-00-00 00:00:00!0000-00-00 00:00:00 $(DH&(<@ hp`hAHSXux ?@AH08LP:@DH  Q7U10=5UX7U465990"width":239,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"04BD2AC0-1618-11E7-8B04-ECDD7630F935","position-x-pc":"0"}alface_alt_tree.xml" : [] }, "height" : 298, "position-x-combined" : "left", "position-x" : "left", "position-y" : "top", "position-y-combined" : "36%", "average-center-x" : 86.5, "average-center-y" : 106.5, "id" : "D3B0C650-CF8D-11E7-A837-A2A332374E49", "position-x-pc" : "29" } 43,"center-y":89,"height":28,"center-x":157}]},"height":265,"position-x-combined":"58%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":173.875,"average-center-y":90.625,"id":"7C1351F2-160A-11E7-AA16-CAD23863F0F2","position-x-pc":"58"}QJohann Sebastian Bach (1685-1750) Arranged by Keith TerrettUQAir from the Suite No. 3 in D for Brass Band Quartet (Jazzy version)U!0W7U!4W7U!2W7U!2012-10-16 06:14:54U12021-07-09 06:01:56Ut0A7 Carols for Brass/Messing Quartet, popular in Norway and Scandinavia. If you like Dizzy Gillespie and Bebop, check out my arrangement of ’A Night in Tunisia’ for Brass Quintet I also have Coltrane’s Equinox & Ellington’s Don’t Get ’Round Much Anymore in store for Brass Quintet.3U3U!5.99W!0W!1W!0W!WW!Keith Terrett!1W!WWCopyright © 2008 Music for all Occasions Publications (keithterrett@gmail.com) www.musicforalloccasions.org.uk7U!WW["19474","56152","362171","33826","145957","392916","36209","64814","91234","76662","33271","153894","3373","145917","157138","41411","146592","80025","13340","23510"]!2020-09-16 21:46:23!1W7U!2021-06-10 12:30:43U14A014D26-C9DF-11EB-A12A-788383FEA0E1U!13091WP7U!0W7U!0W!0W7U!0W11W7Uؙ7U0a7 Carols for Brass Quartet, popular in Norway and Scandinavia. If you like Dizzy Gillespie and Bebop, check out my arrangement of ’A Night in Tunisia’ for Brass Quintet published by Safe Music in the UK:www.safemusic.co.uk I also have Coltrane’s Equinox & Ellington’s Don’t Get ’Round Much Anymore in store for Brass Quintet.!0W!0W!1W!0W{ "GroupOrd" : "20", "StoreGroupOrd" : "20", "StoreGroupID" : "3071", "GroupID" : "20428" } 7U7U!0.0000W!2021-06-10 12:37:33!0W!0W!7W!2013-04-16 14:09:16!0W!0W7 julsangs (Xmas carols) popular in Norway for Brass/Messing Quartet Various Keith Terrett Music for all Occasions 7 Carols for Brass/Messing Quartet, popular in Norway and Scandinavia. If you like Dizzy Gillespie and Bebop, check out my arrangement of ’A Night in Tunisia’ for Brass Quintet I also have Coltrane’s Equinox & Ellington’s Don’t Get ’Round Much Anymore in store for Brass Quintet.r7U!0W!0W!0W!0W!2017-03-31 12:36:19A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":161,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"487B0B0E-1606-11E7-BF06-8679D67DF1E7","position-x-pc":"0"}oresLicenseP!0W!276W!174WH7U7U7U 7U7U7U 7U7U7U7U87U7Up7U@7Uh7U7U7U0Q3U7U07U7U7U87U`7U7U@7Up7U7U7U7U7Ux7Ux7U7U7U(7U 7U`7Uȗ7U7U07UЛ7U7U7U7U7U`7U7U7Uh7U7UP7U7U7Uؖ7U7UЕ7U7U(7Up7U7U7U7U7UP7U7U7U7UX7U7Up7U7UH7U7U7U7U7UX7UdefScorH7UH5Uȃ7U7U(t85U7Up85U7U7Uj6U7U885U(7UI85U@7Uؙ7U85UX7Uxa85U7U85U=7U6U@=7U7UH4U3UX2U( 3Uh4Up3UP7U6U=7U6U=7U7Uh_2U:7U85U=7U885U=7U85U:7U87U^i2U:7UΌ2U7Un4U7U2U7U(7U2U7UИ7U5U@{7U6UH7U4UȆ7U7U5U`7U7Ux6o3U7U7U7U(b2U7U+_2U7U,_2U7Uh/_2U(7U6U@7U07UX:5UX7Ux4Up7Uh5o3U7Uh2U7U/_2U7U 4UЇ7U7U16U7U7U46U7U=4U7U45U07UH1_2UH7U85U7U85U7UXDe3U7U87U7U؝2U7UX85U7U85U7U)6U07U885UH7U85U`7U85Ux7Up,5U7Ux85U7U7UH85U7U85U7Up7U4U7U2U7U7UX2U 7U85U87UX 85UP7UH!85Uh7U"85U7U3U7UH%85U7U7U&85U7U(6U7U&85U7UhG85U7U8<25U(7U 7U 6U@7UZ85UX7UP6Up7U5U7UA6U7U)_2U7U54U7U_85U7U_85U7U7U`85U7U7Uc`7U07Uf`7UH7U25U`7U25Ux7U25U7U7U c2U7U"c2U7U(g85U7Ug85U7UW4U7UXf85U 7Ue85U87U7Uc85UP7U87UOm2Uh7U`7U m2U7U7UX~`2U7U7U`2U7UHb85U7U`7U&_2U7UhAT2U7U8DT2U7U>T2U(7UH7U7U@7U4UX7UP7UH5Up7U7U(t85U7Up85U7U7Uj6U7U885U7UI85U7U7U85U7Uxa85U`7U85U{7U6UX{7U7UH4U3UX2U 3Uh4U3UX7U6U{7U6U|7U7Uh_2U7U85U({7U885U{7U85U7U@7U^i2U7UΌ2U07Un4UH7U2U`7U`7U2Ux7U7U5U7U6U7U4Up7U 7U5U7UE7Ux6o3UX7U67U7U(b2U7U+_2U7U,_2U7Uh/_2U7U6U7Uh7UX:5U7Ux4U7Uh5o3U07Uh2UH7U/_2U`7U 4Ux7U7U16U7UE7U46U7U=4U7U45U7UH1_2U7U85U7U85U 7UXDe3U87U87UP7U؝2Uh7UX85U7U85U7U)6U7U885U7U85U7U85U7Up,5U7Ux85U(7UC7UH85U@7U85UX7U!5.00^7U!2023-04-30 18:46:14!2023-04-30 18:47:14!3120159W!4312487W!0000-00-00 00:00:00!0000-00-00 00:00:00px7U`7UP7UDPY7U`7UDpY7Up7UDY7U7UD7U7UD7U7UD7U7UD7U7UD 7Uг7UD@7U7UD`7U7UD7U7UD7U7UD 7U 7UD@7U07UDZ7U@7UDZ7UP7UD[7U`7UD0[7Up7UDP[7U7UDp7U7UD07U7UDP7U7UDp7U7UD7Uд7UD7U7UD 7U7UD@7U7UD`7Up85U7UD7U 7UD7U07UD7U@7UD 7UP7UD0 7U`7UDP 7U6Up7UDp 7U7UD 7U7UD 7U7UD 7U7UD0 7U7UDP 7Uе7UDp 7U7UDp[7U7UD[7U7UD[7U7UD[7U 7UD[7U07UD\7U@7UD0\7UP7UDP\7U`7UDp\7Up7UD\7U7U7UD\7U7UD\7U7U7Uж7U7U7U7UD\7U7UD`7U 7UD7U07UD7U@7UDP7UP7UDp7U`7UD7Up7UD7U7UD7U7U07U@#7UD~7U_85UZ85U0)7UDs7U`)7UD0t7Up)7UDPt7U)7UDpt7U[7U 57U8U27U7U 7U07UD7U`-7UD7UX7U -7UD~7Uz8UD8Uz8UD8U8UD0H8U,7Up-7UD7U0-7UD0~7U@-7UDP7UP\7U  `7U7UD3U7UD7U7UD3U7UD7U7UD7Uи7UD7U7UD07U7UDP7U7UD7U7UD 7U 7UD@7U07UD07U@7UD`7UP7UD7U`7UD7Up7UD7U7UDp7U7UD7U7UD7U7UD7U7UD7Uй7UD ;7U7UD?7U7UD?7U7UD@7U7UD @7U 7UD@@7U07UD`@7U@7UD@7UP7UD@7U`7UD@7Up7UD A7U7UD7U7UD7U7UD 7U7UD@7U7UD`7Uк7UD PS7U7UD W7U7UD@W7U7UD`W7U7UDW7U 7UDW7U07UDW7U@7UDW7UP7UDX7Up85U`7UDPX7Up7UDpX7U7UDX7U7UDX7U7UDX7U7UDX7U6U7UD Y7Uл7UD7U7UD7U7UD7U7UD07U7UDP7U 7UD`]7U07UDp`7U@7UD`7UP7UD`7U`7UDp7Up7UD7U7UD7U7UD7U7UD7U7UD7U7UD07Uм7U7UDP7U7UDp7U7U(7UA7UV132953@Q7U17U5}:78883QBadinerie- Suite No 2 in Bm- BWV 1067 for C Euphonium & Piano.sibQBadinerie from Suite No.2 for C Euphonium & Piano (Pro-version)3U!31W!4W!3W!2021-01-25 19:28:59!2021-01-25 19:27:28AJ. S. Bach (1685-1750) arranged by Keith Terrett7U!WW7U10W0!sibW!250W@!0W`!2021-01-25 19:28:59!1W!2278W!1W!2.00X7U!2021-01-25 19:29:00U!1xX7U!0WH7U!0W87U!0X7U!0W7U152W7U0!0Y7U!1W07U!23xYP7U!2017-03-31 15:34:31U!2017-06-09 17:10:17U!0000-00-00 00:00:00U!WW7U!70349W7U!0W7U!0W07U!0.00WP7U!7.99Wp7U!4.00W7U!0W7U!WW7U10.00W)7Ut0A jazzier version of Air on the G String written for Scherzo Brass; for their new CD album due out shortly in the Summer. Instrumentation is for Brass Band Quartet which consists of two Bb Cornets, Eb Tenor Horn and Bb Euphonium. Since its foundation in September 2006, Scherzo Brass - a brass quartet based in Greater Manchester - has enjoyed a remarkable run of success and has established itself as one of the leading young ensembles. Since winning the title of British Open Quartet Champions in 2007, as well as first prize in the prestigious Philip Jones Ensemble Competition 2008, Scherzo Brass has been in demand nationwide and enjoys a busy schedule of performances. 7U7U!1.99W!0W!1W!0W!WW!WW!0W!WWMFAO © 2010 www.musicforalloccasikons.org.uk( keithterrett@gmail.com)Music for all Occasions PublishersefScoreExchang!WW!YY7U!0.00W["206815","53262","53505","126284","109455","83976","22179","105937","55502","203462","43869","7843","86478","198828","7763","81877","7907","60394","38818","63292"]U!2020-09-10 02:06:14U!0W7U!2019-09-25 12:57:19U1A094D850-DF8B-11E9-B562-787U!11183W!0W7U!0W10W7U7U0A jazzier version of Air on the G String written for Scherzo Brass; for their new CD album due out shortly in the Summer. Instrumentation is for Brass Band Quartet which consists of two Bb Cornets, Eb Tenor Horn and Bb Euphonium. Since its foundation in September 2006, Scherzo Brass - a brass quartet based in Greater Manchester - has enjoyed a remarkable run of success and has established itself as one of the leading young ensembles. Since winning the title of British Open Quartet Champions in 2007, as well as first prize in the prestigious Philip Jones Ensemble Competition 2008, Scherzo Brass has been in demand nationwide and enjoys a busy schedule of performances. 7U!1W!0W!1W!0Wq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } 7U!0.0000W!2012-10-16 06:16:39QAir from the Suite No 3 in D for Brass Band Quartet Jazzy version7U!0W!0W!4W!2013-04-09 10:38:39!0W!0WaAir from the Suite No. 3 in D for Brass Band Quartet (Jazzy version) Johann Sebastian Bach (1685-1750) Arranged by Keith Terrett Keith Terrett Music for all Occasions A jazzier version of Air on the G String written for Scherzo Brass; for their new CD album due out shortly in the Summer. Instrumentation is for Brass Band Quartet which consists of two Bb Cornets, Eb Tenor Horn and Bb Euphonium. Since its foundation in September 2006, Scherzo Brass - a brass quartet based in Greater Manchester - has enjoyed a remarkable run of success and has established itself as one of the leading young ensembles. Since winning the title of British Open Quartet Champions in 2007, as well as first prize in the prestigious Philip Jones Ensemble Competition 2008, Scherzo Brass has been in demand nationwide and enjoys a busy schedule of performances. ceGB!0W!0W!58W!34W!2017-03-31 13:13:59{"width":300,"position-y-pc":"34","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":74,"width":29,"x":142,"center-y":88.5,"height":29,"center-x":156.5},{"y":51,"width":33,"x":214,"center-y":67.5,"height":33,"center-x":230.5},{"y":90,"width":59,"x":165,"center-y":119.5,"height":59,"center-x":194.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":74,"width":29,"x":142,"center-y":88.5,"height":29,"center-x":156.5},{"y":51,"width":33,"x":215,"center-y":67.5,"height":33,"center-x":231.5},{"y":85,"width":73,"x":161,"center-y":121.5,"height":73,"center-x":197.5},{"y":34,"width":98,"x":18,"center-y":83,"height":98,"center-x":67}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":75,"width":28,"x":143,"center-y":89,"height":28,"center-x":157}]},"height":265,"position-x-combined":"58%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":173.875,"average-center-y":90.625,"id":"8B3A4AA4-160B-11E7-B3E2-F48C437242EF","position-x-pc":"58"}esP7U7UH7U(7U7U7U(7U7U7U7U@7U7Ux7Ux7U7U 7U7U@!3U7U87U7U07Up7Uh7U7UH7U7U7U7U7U7U7U7U7U7U07UX7Uh7U7U7U87U7U7U(7U7U7Uh7U7U7Up7U7U7U7U7U7U7U7U7U07Ux7U7U7U7U7UX7U7U7U@7U7U7Ux7U7UP7U7U 7U7U7U`7U7U!0X^7U!1W!650x459W!0W!0W!5.00W!2023-04-28 12:27:32!2023-04-28 12:27:38!638961W!601892W!0000-00-00 00:00:00!0000-00-00 00:00:00p7Up7U7U 7U07U@7UP7UD7U`7UD7Up7UD7U7UD@A7U7UDA7U7UDB7U7UD0B7U7UDPB7Uн7UDB7U7U7U)7UDt7U_85UZ85U>8UD8U@>8UD8UP>8UD8U`>8UD 8U0\7U f7U8U27U@7UP 7U7UD@7U37UDP7U7Up37UDп7UЀ8UDPH8U8UDH8U0N8UD8U@37U37UDp7U37UD7U37UD7U\7U  Py7U7UDf7U'7UD g7U'7UDg7U'7UDg7U'7UDg7U'7UDg7U'7UDh7U'7UD h7U'7UDh7U(7UDh7U(7UDi7U (7UD0i7U0(7UDpi7U@(7UDi7UP(7UDi7U`(7UDi7Up(7UD@h7U(7UDph7U(7UDh7U(7UDh7U(7UDk7U(7UD k7U(7UDpl7U(7UDl7U(7UDl7U)7UDl7U)7UDl7U )7UDm7U0)7UD0m7U@)7UDPm7UP)7UDpm7U`)7UDm7Up)7UDi7U)7UDj7U)7UD0j7U)7UDPj7U)7UDpj7U)7UD p7U)7UDPq7U)7UDpq7U)7UDq7U*7UDq7U*7UDq7U *7UDq7U0*7UDr7U@*7UD0r7Up85UP*7UDr7U`*7UDr7Up*7UDr7U*7UDr7U*7UDs7U*7UD0s7U6U*7UD Ps7U*7UD@u7U*7UD`u7U*7UDu7U*7UDu7U+7UDu7U+7UDu7U +7UDx7U0+7UDy7U@+7UD0y7UP+7UDf7U`+7UDf7Up+7UDj7U+7UDj7U+7UDj7U+7UDm7U+7UDn7U+7U+7UD0n7U+7UDPn7U+7U,7U,7U ,7U0,7U@,7UDpn7UP,7UDn7U`,7UDn7Up,7UDn7U,7UDo7U,7UDo7U,7UDo7U,7UD`}7U,7UDo7U@#7U7Up>8UD@8U_85UZ85U`D8UD`57UD8UDE7UD8UDE7UD8UDF7Up\7U P7U8U20$7U7U7U @;3U'7UD7U7UD 7U$7UP7UN8UD`8U@N8UD8UT8UD8U@7UD7U7UD 7U7UDP 7U7UDp 7U\7U  7U`7UD3U-7UD67U-7UD3U-7UD67U.7UD77U.7UD 77U .7UD@77U0.7UD`77U@.7UD87UP.7UD087U`.7UDP87Up.7UDP67U.7UDp87U.7UD87U.7UD87U.7UD87U.7UD77U.7UD77U.7UD77U.7UD77UJ7U \`(0#(DHLPDHVX -0CH  `h-0"(*0 8@?@ def0125A3U6Ux57U+132131@QP7U1^5U67US922861867UH137106QJesus Christ is Risen Today for Brass Quartet (3 Bb Tpts & Tbn).sibAJesus Christ is Risen Today for Brass Quartet`3U!0W!3W!2W!2014-06-18 17:28:30!2022-06-15 08:13:42!trad8X7U!Keith Terrett 7U!0W07U10W0!sibWP3U!250W3U!0W7U!2014-06-18 17:28:30U!6Wd7U!4488WГ7U!6W7U!1.50XX7U!2014-06-18 17:29:25U!1W7U!0W7U!168215W7U!1X7U!0W07U11W@7U0!2Y4U!0xY4Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !0.0000W!2014-06-18 17:32:23AJesus Christ is Risen Today for Brass QuartetSO!0W!0W !2W@!2013-03-15 19:48:51!0W!0W A transcription for C Euphonium & Piano of J.S. Bach’s Badinerie, arranged in a tessitura to suit pro players. There is a lower version available. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.ed? !3.99W!0W!0W!0W!WW!WW!0W!WWaCopyright 2013 MFAO (keithterrett@gmail.com) www.musicforalloccasions.org.ukU A7U!WW["137103","483961","70928","143287","56373","28839","96203","56372","119016","63820","56705","398683","398984","137581","56704","67838","22488","56454","144026"]7U!2020-09-17 21:14:49!1W(D7U!2019-09-25 13:17:38U1770D34D4-DF8E-11E9-B562-787U7U!13753W7U!0WF7U!0W!0WE7U!1W1650x840W7UD7U07U4Up7U2U7UD7UX2U7U85U7UX 85U7UH!85U7U"85U7U3U7UH%85U07U7U&85UH7U(6U`7U&85Ux7UhG85U7U8<25U7UX7U 6U7UZ85U7UP6U7U5U7UA6U 7U)_2U87U54UP7U_85Uh7U_85U7UE7U`85U7U(7Uc`7U7Uf`7U7U25U7U25U7U25U7UH7U c2U(7U"c2U@7U(g85UX7Ug85Up7UW4U7UXf85U7Ue85U7U7Uc85U7U@D7UOm2U7U7U m2U7UC7UX~`2U7U7U`2U07UHb85UH7UhC7U&_2U7UhAT2U7U8DT2U7U>T2U7UPF7U7U7U4U7U7UH5U(7UD7U(t85U@7Up85UX7UF7Uj6Up7U885U7UI85U7UD7U85U7Uxa85U<7U85U87U6U؅7UE7UH4U3UX2U3Uh4U`3U`E7U6Uh7U6U7UG7Uh_2U7U85U7U885UP7U85U7Ux7U^i2U7UΌ2U7Un4U7U2U7UhI7U2U 7UJ7U5U7U4U(7U867UP#7UC7U5Uh7UO7Ux6o3U7U6U7U(b2U@7U+_2UX7U,_2Up7Uh/_2U7U6U7UpJ7UX:5U7Ux4U7Uh5o3U7Uh2U7U/_2U7U 4U07UL7U16UH7U(P7U46U`7U=4Ux7U45U7UH1_2U7U85U7U85U7UXDe3U7U87U7U؝2U 7UX85U87U85UP7U)6Uh7U885U7U85U7U85U7Up,5U7Ux85U7UM7UH85U7U85U7UL7U4U(7U2U@7UHN7UX2UX7U85Up7UX 85U7UH!85U7U"85U7U3U7UH%85U7UK7U&85U7U(6U7U&85U07UhG85UH7U8<25U`7U`K7U 6Ux7UZ85U7UP6U7U5U7UA6U7U)_2U7U54U 7U_85U 7U_85U8 7UP7U`85UP 7U0K7Uc`7Uh 7Uf`7U 7U25U 7U25U 7U25U 7UPL7U c2U 7U"c2U 7U(g85U!7Ug85U(!7UW4U@!7UXf85UX!7Ue85Up!7UJ7Uc85U!7UxN7UOm2U!7UJ7U m2U!7UM7UX~`2U!7UK7U`2U!7UHb85U"7UM7U&_2U"7UhAT2U0"7U8DT2UH"7U>T2U`"7UP7U7Ux"7U4U"7UK7UH5U"7UN7U(t85U"7Up85U"7UP7Uj6U"7U885U#7UI85U #7U O7U85U8#7Uxa85U03U85Uh 3U6U7UO7UH4U{7UX2U 3Uh4U7UPS7UA transcription for C Euphonium & Piano of J.S. Bach’s Badinerie, arranged in a tessitura to suit pro players. There is a lower version available. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.changeScores!0W!0W!1W!0W!WW!0.0000W!2021-01-25 19:30:06QBadinerie from Suite No2 for C Euphonium Piano Proversion7UX7U!0W!0W!4W!2013-04-12 14:16:18!0W!0WQBadinerie from Suite No.2 for C Euphonium & Piano (Pro-version) J. S. Bach (1685-1750) arranged by Keith Terrett Music for all Occasions A transcription for C Euphonium & Piano of J.S. Bach’s Badinerie, arranged in a tessitura to suit pro players. There is a lower version available. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.{"width":243,"position-y-pc":"23","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":35,"width":67,"x":92,"center-y":68.5,"height":67,"center-x":125.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":36,"width":68,"x":91,"center-y":70,"height":68,"center-x":125}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":35,"width":70,"x":91,"center-y":70,"height":70,"center-x":126}]},"height":300,"position-x-combined":"52%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":125.5,"average-center-y":69.5,"id":"2D7DB6EE-161F-11E7-A53E-D50ADEDB860C","position-x-pc":"52"}!3W!250W!308WXD7UI7UPI7U`7UC7UE7U0E7UI7UF7UH7UHE7UD7U7UI7UH7U(D7UG7UX!3U7Up7UG7U8I7UxH7UpG7UH7UPC7UI7UF7U F7UH7UF7UG7UD7UC7UI7U8F7U`H7U7U7UF7U@G7UF7UE7U0H7U 7UH7UpD7U87UP7UxE7U I7UH7U7UXJ7U7UD7U7U07Uh7UF7U@7UE7U7U87U7UH7UI7UHH7UI7UG7UC7UG7UXG7U7U(G7U7U7UhF7U !0]d7U!0W!5.00W!2023-04-20 18:54:37!2023-04-20 18:55:03!2119975W!2975778W!0000-00-00 00:00:00!0000-00-00 00:00:00QJ7U1hf7U,'tC121182!121197W !137566W!2017-06-09 17:10:17U10000-00-00 00:00:00J7U0qArioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for C Euphonium & Harpsichord pt? !60W!582W!4W!3W!2021-06-08 15:57:19!2021-06-08 15:55:411J.S. Bach arranged by Keith TerrettU!WWJ7U!0WK7U!0W !sibW!250W!0WAArioso for C Euphonium & Harpsichord.sibj7U!2021-06-08 15:57:19!0W!1822W!0W!1.50XM7U!2021-06-08 15:57:23U!1WL7U!0WPL7U!0W@M7U!XXK7U!114988WJ7U10WL7U0!2^j7UQArioso by J.S.Bach arranged for C Euphonium & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. ang!2.50W!0W!0W!0W!WW!WW!0W!WWaCopyright 2013 MFAO (keithterrett@gmail.com) www.musicforalloccasions.org.ukresScores!WW!0YM7U!0.00W!5.50WO7U!3.00W!0W@M7U!WWP7U!0.00WJ7U["368847","103808","19055","74640","74352","58286","64644","108131","72920","71738","162600","48083","64235","72650","166129","42274","75524","130228","132000"]!2020-09-11 17:45:43U!1WK7U!2019-09-25 13:17:55U!13753W QArioso by J.S.Bach arranged for C Euphonium & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. U!0W!0W!1W!0W!WW!0.0000W!2021-06-08 15:59:20aArioso Sinfonia to Cantata Ich steh mit einem Fu im Grabe for C Euphonium Harpsichord !0W!0W!3W!2013-05-17 18:38:20!0W!0WArioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for C Euphonium & Harpsichord J.S. Bach arranged by Keith Terrett Music for all Occasions Arioso by J.S.Bach arranged for C Euphonium & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. ? !0W!0W!52W!23W!2017-03-31 15:36:06{"width":243,"position-y-pc":"23","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":35,"width":67,"x":92,"center-y":68.5,"height":67,"center-x":125.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":36,"width":68,"x":91,"center-y":70,"height":68,"center-x":125}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":35,"width":70,"x":91,"center-y":70,"height":70,"center-x":126}]},"height":300,"position-x-combined":"52%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":125.5,"average-center-y":69.5,"id":"66030C80-161F-11E7-BE97-C47BD0AED911","position-x-pc":"52"}Scores!3W!250W!308WN7U@7U~7UhL7U0N7U8O7UhO7UP~7UQ7UR7UO7UN7UJ7U~7UR7U`N7U R7UxQ3UL7UxK7UQ7U~7UR7UQ7U(S7UM7U~7U@P7UXP7US7UP7UQ7UN7UN7U7UpP7UR7UK7UM7U0Q7UxQ7UQ7UO7UhR7U(M7U8R7UN7U@M7UXM7UO7Uh~7UR7UJ7U7U L7UO7UK7U8L7UpM7UP7UHK7UPO7UK7U(J7UL7UPR7U(7UR7U~7UQ7UM7UHQ7UQ7UK7U`Q7UL7UL7UP7U}7U18104C006-DF8E-11E9-AFAE-787UImageUpd!0W!0W!0W!1W!650x839W!0WO7U6U7U6U(7UR7Uh_2U87U85UP7U885U7U85UP7UL7U^i2Uh7UΌ2U7Un4U7U2U7U~7U2U7U7U5U@$7U4U%7U7Uȕ7UN7U5U 7U(7Ux6o3U%7U6U($7U(b2U%7U+_2U%7U,_2U%7Uh/_2U&7U6U &7U7UX:5U8&7Ux4UP&7Uh5o3Uh&7Uh2U&7U/_2U&7U 4U&7U(7U16U&7Up7U46U&7U=4U&7U45U'7UH1_2U('7U85U@'7U85UX'7UXDe3Uh7U87U7U؝2U7UX85U7U85Uȏ7U)6U7U885U7U85U7U85U(7Up,5U@7Ux85UX7U7UH85Up7U85U7U7U4U7U2U7U7UX2UА7U85U7UX 85U7UH!85U7U"85U07U3UH7UH%85U`7UH7U&85Ux7U(6U7U&85U7UhG85U7U8<25Uؑ7U7U 6U7UZ85U7UP6U 7U5U87UA6UP7U)_2Uh7U54U7U_85U7U_85U7UX7U`85UȒ7Ux7Uc`7U7Uf`7U7U25U7U25U(7U25U@7U7U c2UX7U"c2Up7U(g85U7Ug85U7UW4U7UXf85UГ7Ue85U7U7Uc85U7U7UOm2U7U7U m2U07U07UX~`2UH7U7U`2U`7UHb85Ux7U7U&_2U7UhAT2U7U8DT2U7U>T2Uؔ7UЅ7U7U7U4U7U؀7UH5U 7U 7U(t85U87Up85UP7U7Uj6Uh7U885U7UI85U7Uh7U85U7Uxa85U;7U85Ua3U6U7U7UH4U7UX2U97Uh4U87U7U6U7U6U7UP7Uh_2U7U85U7U885U7U85U7Uȁ7U^i2U7UΌ2U(7Un4U7U2U07U7U2UH7U`7U5U$7U6U7U4U 7U7U5U7UP7Ux6o3U7U7U7U(b2U87U+_2UP7U,_2Uh7Uh/_2U7U6U7U7UX:5U7Ux4UȘ7Uh5o3U7Uh2U7U/_2U7U 4U(7U`7U16U@7U7U46UX7U=4Up7U45U7UH1_2U7U85U7U85UЙ7UXDe3U7U87U7U؝2U7UX85U07U85UH7U)6U`7U885Ux7U85U7U85U7Up,5U7Ux85Uؚ7UP7UH85U7U85U7U07U4U 7U2U87Uȍ7UX2UP7U85Uh7UX 85U7UH!85U7U"85U7U3Uț7UH%85U7U7U&85U7U(6U7U&85U(7UhG85U@7U !0^@7U!5.00W!2023-04-20 17:11:07!2023-04-20 17:11:55!2435806W!4434991W!0000-00-00 00:00:00!0000-00-00 00:00:007U@7U/7UD:7U/7UD 7U /7UD7U0/7UD7U@/7UD7UP/7UD7U`/7UD7Up/7UD 7U/7UD@7U/7UD`7U/7UD7U/7UD7U/7UD87U/7UD97U/7UD097U/7UDP97U07UDp97U07UD Ь7U 07UD97U007UD97U@07UD97UP07UD :7U`07UD@:7Up07UD:7U07UD:7U07UD:7Up85U07UD0;7U07UDP;7U07UDp;7U07UD;7U07UD;7U07UD;7U6U17UD p7U17UD7U 17UD7U017UD7U@17UD7UP17UD 7U`17UD@7Up17UD7U17UD7U17UD7U17UD7U17UD7U17UD7U17UD 7U17UD@7U17UD`7U27UD7U27UD7U 27UD7U027UD7U@27UP27U`27Up27U27U27UD7U27UD 7U27UD@7U27UD7U27UD7U27UD7U27UD7U37UD7U37UD07U7U$7UD8UD F7U_85UZ85UJ7UD`s8U@J7UDs8UPJ7UDs8U`J7UDt8U\7U 7U7U27Ux%7U7U B3U-7UDP7U7UD7U7U7UD7UT8UD@8UT8UD 8U8UD 8U7UD 7U 7UD 7U7UD7U7UD7U]7U  07U 7UD7U 47UDp7U047UD@7U@47UD`7UP47UD7U`47UD7Up47UD7U47UD7U47UD7U47UD7U47UD7U47UD 7U47UD7U47UD7U47UD07U57UDP7U57UD7U 57UD 7U057UD@7U7UD`7U7UD7U 7UD 7U07UD@7U@7UD`7UP7UD7U`7UD7Up7UD7U7UD7U7UD7U7UD 7U7UD@7U7UD`7U7UDp7U7UD7U7UD7U7UD7U7UD7U 7UD 7U07UD07U@7UDP7UP7UDp7U`7UD7Up7UD7U7UD7U7UD7U7UD7Up85U7UD07U7UDP7U7UDp7U7UD7U7UD7U7UD7U6U7UD 7U 7UD7U07UD7U@7UD07UP7UDP7U`7UDp7Up7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD 7U7UD@7U 7U07UD`7U@7UD7UP7U`7Up7UQX7U16U7UyKA1375661Pʨ2U7U4121134!121412W !139887W@7UQBelarusian State Anthem for Brass Quintet (copyright 1950).sibaBelarusian National Anthem for Brass Quintet (MFAO World National Anthem Series)!9W@10W `8U8U0!132131W057U!sibW+7U!250W 17U>u!145079!0000-00-00 00:00:00!0W@!0W`!0W !153082Y!2.00W8"7U10W"7U01Cwm Rhondda for Brass Quartet-Quintet!9W@!0W`!3WtAttempt!2W!2014-05-02 10:04:07!2022-08-31 08:29:39itySAJohn Hughes (1873-1932) Arranged by Keith Terrett7U!Keith Terrett8"7U10W0!sibWf:5U!250W !137362W7U!2017-06-09 17:10:17U10000-00-00 00:00:007U0aArioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for C Trumpet & Piano!60W119W)7Ut0Jesus Christ is Risen Today, arranged for a Brass ensemble consisting of 2 Bb Trumpets, Horn & C Trombone. This famous Christian Easter Processional Hymn has been artfully arranged by Keith Terrett for three trumpets with Bass Trombone or Tuba on the bottom part. The Hymn’s origin goes back to the 14th century and was eventually added to the John Wesley hymnal in 1739. Mr. Terrett’s arrangement has one harmonization for all of the verses and a final more elaborate section for optional piccolo trumpet (can be performed down the octave very easily) The arrangement can be performed by intermediate level players and can be an important part of your Easter service. Trumpet parts are in B-flat A great new arrangement of a classic Easter hymn, with a sparkling descant with which to feature your star Trumpeter; during your Easter service. Parts are available in a variety of transpositions, such as F Horn & treble clef lower brass.(7U!1.20W!0W!1W!0W!WW!WW!0W!WW!MFAO 2011!WW!2022-06-15 08:13:42U!0000-00-00 00:00:00!WW@7U!505778W!1W7U!3WX7U!2.40W07U!1.20WP7U!2.40W7U!1.20W 7U!0W7U!WW7U!0.00WAX 6Ux7UD89283@17UU96877Jesus Christ is Risen Today arranged for 3 Bb Trumpets & Trombone. If you need a different instrumentation, e-mail me your requirements:keithterrett@gmail.com Christ the Lord Is Risen Today is a Christian hymn associated with Easter. Most of the stanzas were written by Charles Wesley, and the hymn appeared under the title Hymn for Easter Day in Hymns and Sacred Songs by Charles and John Wesley in 1739. It remains a traditional processional hymn on Easter Sunday. The hymn is a variation of an earlier hymn Jesus Christ Is Risen Today, a 14th century Latin hymn which had been translated into English and published in Lyra Davidica in 1708 (and later in 1749 in Arnold’s Compleat Psalmodist). In some hymnals, Jesus Christ Is Risen Today is in fact the 3 stanza Compleat Psalmodist version with one or more of the additional stanzas written by Wesley appended. Many hymnals include both hymns separately. Almost all list Jesus Christ Is Risen Today to be sung to the hymn tune Easter Hymn (either the original from Lyra Davidica or an alternative arrangement by William Henry Monk). Some, such as the Australian Hymn Book, also list that as the tune for Christ the Lord Is Risen Today. However, most list Christ the Lord Is Risen Today to be sung to the anonymous tune Nassau (first found in a late 17th-century German book of sacred tunes), to the tune Gwalchmai by Welsh composer Joseph David. angeScores1Jesus Christ is Risen Today for Brass Quartet trad Keith Terrett Music for all Occasions Jesus Christ is Risen Today, arranged for a Brass ensemble consisting of 2 Bb Trumpets, Horn & C Trombone. This famous Christian Easter Processional Hymn has been artfully arranged by Keith Terrett for three trumpets with Bass Trombone or Tuba on the bottom part. The Hymn’s origin goes back to the 14th century and was eventually added to the John Wesley hymnal in 1739. Mr. Terrett’s arrangement has one harmonization for all of the verses and a final more elaborate section for optional piccolo trumpet (can be performed down the octave very easily) The arrangement can be performed by intermediate level players and can be an important part of your Easter service. Trumpet parts are in B-flat A great new arrangement of a classic Easter hymn, with a sparkling descant with which to feature your star Trumpeter; during your Easter service. Parts are available in a variety of transpositions, such as F Horn & treble clef lower brass.7U!0^7U!0W!0W!0W!2017-03-31 13:36:59A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":200,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"C22F62EE-160E-11E7-9176-F602BFD9FB38","position-x-pc":"0"}7UdefScor!0W!315W!211W؃7Ux7UЈ7U7Ux7U7U7U7UH7U@7UȄ7U87U7U7U(7U7Uh7Up3UP7U7U87U7U7U7Up7UЂ7U07U7U7UX7U07U7U7UH7UH7U7U7U7UX7Ux7U7U`7U@7U7Up7U7U7U7U7U7U7U7U07U7Uh7UP7U`7U7U7U7U7U7U 7Up7U7U7U`7Uȇ7U7U 7U7U7U؆7U87U7U7U@7U7UdefScor["95548","66817","34306","46577","96875","106045","24379","6327","78918","87837","23506","95306","126789","32624","23508","146096","50885","106046","56445"]angeScores!2020-09-22 09:52:50!1W!2019-09-25 13:01:291355FA712-DF8C-11E9-9A5B-78|7U!10615W!0W!0W!0W!1W!650x918W!0W!0W!5.00W!2023-04-27 15:20:46!2023-04-27 15:21:28!1032675W!1823903W!0000-00-00 00:00:00!0000-00-00 00:00:00 `h68*0 <@(0 ~ jp9@ $(SX&($( PX P7U7U7U7U7UD7U7UD7U7UD7U7UD@7U7UD7U7UD 7U7UD@7U7UD`7U 7UD7U7U7UpJ7UD t8U_85UZ85U`P7UD@8UP7UD8UP7UD8UP7UD8U\7U p 7U7U27U7U48UD 8U7UDм7U(7UD`7UP7U'7UD7U8UD`8U8UD@8U"8UD@8U'7UD7U(7UD7U'7UD7U'7UD 7UP]7U  7U7UD7U07UDN7U@7UDO7UP7UD O7U`7UD@O7Up7UD`O7U7UDO7U7UDO7U7UDPP7U7UDpP7U7UDP7U7UDP7U7UDP7U7UDQ7U7UD0Q7U7UDPQ7U 7UDO7U07UDO7U@7UDP7UP7UD P7U`7UDR7Up7UD 7U7UD 7U7UD@7U7UDR7U7UDR7U7UDR7U7UDS7U7UD S7U7UD@S7U7UD`S7U7UDS7U 7UDpQ7U07UDQ7U@7UDQ7UP7UDQ7U`7UDQ7Up7UD07U7UDR7U7UD0R7U7UDPR7U7UDS7U7UDS7U7UD@T7U7UD`T7U7UDT7Up85U7UDT7U7UD7U 7UD7U07UD07U@7UDP7UP7UDp7U6U`7UD 7Up7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD07U7UDP7U 7UDp7U07UD7U@7UD7UP7UD7U`7UD7Up7UD7U7UD07U7UDP7U7U7U7U7U7U7UD 7U7UD@7U7UD`7U 7UD7U07UD07U@7UDP7UP7UDp7U`7UD7Up7UD7U7U7UP7UD8U_85UZ85U8UD8U8UDP8U8UDp8U8UD8U0]7U `27Up7U2p7U87U7U7UD`>7UP.7UD7U7U.7UD7U@#8UD8U0#8UD8U8UD8U-7UD07U`.7UD07U .7UD7U0.7UDФ7U]7U  pa7U7UD7U7UD 7U7UDP7U7UDp7U7UDp7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U 7UD7U07UD7U@7UD07UP7UDP7U`7UD`7Up7UD7U7UD 7U7UD@7U7UD`7U7UD7U7UD 7Uhange-0Q؉7U!49^07U!0W!4W!1W!2014-06-29 11:28:47!2021-09-01 17:57:14!Keith Terrett7U!WWX7U!2011Wh7U10W0!sibW!250W!0W!2014-06-29 11:28:47!2W!3774W!2W!1.20X7U!2014-06-29 11:28:50U!0W7U!0WЋ7U!170603W7Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !2^p7UA saucey little Tango for Bb Piccolo Trumpet, Trombone & Keyboard. The tango is a partner dance that originated in the 1890s along the Río de la Plata, the natural border between Argentina and Uruguay, and soon spread to the rest of the world. Early tango was known as tango criollo (Creole tango). Today, there are many forms of tango extant. Popularly and among tango dancing circles, the authentic tango is considered to be the one closest to the form originally danced in Argentina and Uruguay. In 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists. 7Uv7U!2.50W!1W!0W!0W!WW!WW!0W!WW!WW!WW!2017-06-09 17:10:17U!0000-00-00 00:00:00!WWh7U!259117W!0W7U!0W7U!0.00Wh7U!6.10Wx7U!3.60W7U!0WX7U!WW7U!0.00W7U"Sword and Sorcery" covers a wide range of fantasy genre movies, from those set in mythical lands to planets far, far away.A saucey little Tango for Bb Piccolo Trumpet, Trombone & Keyboard. The tango is a partner dance that originated in the 1890s along the Río de la Plata, the natural border between Argentina and Uruguay, and soon spread to the rest of the world. Early tango was known as tango criollo (Creole tango). Today, there are many forms of tango extant. Popularly and among tango dancing circles, the authentic tango is considered to be the one closest to the form originally danced in Argentina and Uruguay. In 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists. 7UdefScor!1W!0W!1W!0W!0.0000W!2014-06-29 11:29:37ABollywood Tango for Piccolo Trumpet Trombone Keyboard8<25UX7U7U 6Up7UZ85U7UP6U7U5U7UA6UМ7U)_2U7U54U7U_85U7U_85U07U7U`85UH7U7Uc`7U`7Uf`7Ux7U25U7U25U7U25U7UЋ7U c2U؝7U"c2U7U(g85U7Ug85U 7UW4U87UXf85UP7Ue85Uh7UP7Uc85U7U7UOm2U7U 7U m2U7Uh7UX~`2UȞ7U@7U`2U7UHb85U7U 7U&_2U7UhAT2U(7U8DT2U7U>T2U 7U7U7U87U4UP7U7UH5Uh7UH7U(t85U7Up85U7U@7Uj6U7U885U7UI85U7U7U85U7Uxa85U87U85U%7U6U$7U87UH4U7UX2U0 3Uh4U7U7U6UH%7U6U`%7Ux7Uh_2U`7U85U$7U885U0%7U85Ux7U7U^i2U7UΌ2U7Un4U0c7U2UHc7U7U2U`c7U07U5U7U4Uh7U 7U7U7U5U7U7Ux6o3UP7U6U7U(b2U7U+_2U7U,_2U7Uh/_2U7U6U7U7UX:5U7Ux4U7Uh5o3U(7Uh2U@7U/_2UX7U 4Up7U7U16U7U7U46U7U=4U7U45U7UH1_2U7U85U7U85U7UXDe3U07U87UH7U؝2U`7UX85Ux7U85U7U)6U7U885U7U85U7U85U7Up,5U7Ux85U 7Ux7UH85U87U85UP7UX7U4Uh7U2U7U7UX2U7U85U7UX 85U7UH!85U7U"85U7U3U7UH%85U(7U7U&85U@7U(6UX7U&85Up7UhG85U7U8<25U7U7U 6U7UZ85U7UP6U7U5U7UA6U7U)_2U07U54UH7U_85U`7U_85Ux7U7U`85U7U7Uc`7U7Uf`7U7U25U7U25U7U25U7U7U c2U 7U"c2U87U(g85UP7Ug85Uh7UW4U7UXf85U7Ue85U7Ux7Uc85U7U 7UOm2U7UH7U m2U7U7UX~`2U7Uh7U`2U(7UHb85U@7UH7U&_2UX7UhAT2Up7U8DT2U7U>T2U7U07U7U7U4U7U87UH5U7U7U(t85U7Up85U7Ux7Uj6U07U885UH7UI85U`7U7U85Ux7Uxa85U3U85Up2U6U7Up7UH4U7UX2U@Z3Uh4U07U@7U6U7U6Uؗ7U7Uh_2Uxc7U85U7U885U7U85Uc7U(7U^i2Uc7UΌ2Uc7Un4U7U2U7UH7U2U7U07U5U7U8Ux7UeScores!0^ 7U!0W!2W!2013-04-17 11:00:46!0W!0WBollywood Tango for Piccolo Trumpet, Trombone & Keyboard Keith Terrett Music for all Occasions A saucey little Tango for Bb Piccolo Trumpet, Trombone & Keyboard. The tango is a partner dance that originated in the 1890s along the Río de la Plata, the natural border between Argentina and Uruguay, and soon spread to the rest of the world. Early tango was known as tango criollo (Creole tango). Today, there are many forms of tango extant. Popularly and among tango dancing circles, the authentic tango is considered to be the one closest to the form originally danced in Argentina and Uruguay. In 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists. 7U!0W!0W!0W!0W!2017-03-31 13:40:11A{"width":197,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"34BC43C2-160F-11E7-BD8D-8B73AFCF6C9F","position-x-pc":"0"}7U7U!0W!79W!120W7U7U7U7U7U7U7U7Up7Uh7U7U`7U87U(7UP7U7U7UX3U7U7U`7U7U 7U7U7U7UX7U7U7U7UX7U07U07U7Up7U7U7U(7U7U7U7U7Uh7U7U7U7U(7U7U،7U 7U7U87Uh7U7U7Ux7U7U7U7U(7UȊ7U7UX7U7U7U7U7U7U@7UH7U87U7U7Up7U7UH7Ux7U7U@+7U["186910","485435","494380","192780","399148","177652","143984","485589","185393","155155","116672","97959","189878","397613","155154","159814","485531","485624","402137"] !2020-09-16 18:38:59!1W!2019-09-25 13:01:5314371351E-DF8C-11E9-B6D0-78 !2479W!0W!0W!0W!1W!650x918W!0W!0W!5.00W!2023-04-27 10:27:52!2023-04-27 10:28:22!1612387W!2490627W!0000-00-00 00:00:00!0000-00-00 00:00:00Q7U15U 7U8x97974 An arrangement of a popular Schumann Piano work for Brass Quintet, great piece for pro Brass Ensembles. Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən], "Scenes from Childhood"), Op. 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838. Schumann wrote 30 movements for this work but chose 13 for the final version. The unused movements were later published in Bunte Blätter, Op. 99, and Albumblätter, Op. 124. Schumann initially intended to publish Kinderszenen together with Novelletten (Opus 21); the shared literary theme is suggested by the original title Kindergeschichten (Children's Tales). He told his wife Clara that the "thirty small, droll things", most of them less than a page in length, were inspired by her comment that he sometimes seemed "like a child". He described them in 1840 as "more cheerful, gentler, more melodic" than his earlier works. Movement No. 7 of the work, Träumerei, is one of Schumann's best known pieces; it is the opening and closing musical theme of the 1947 Hollywood film Song of Love, and Träumerei is the title of a 1944 German biographical film on Schumann. In Russia, a hummed choral a cappella version became known as mourning music, being played annually during the Minute of Silence on Victory Day. Originally called Leichte Stücke ("Easy Pieces"), the section titles were only added after the completion of the composition, and Schumann described them as "nothing more than delicate hints for execution and interpretation". Timothy D. Taylor, however, has discussed the choice of titles for this work in the context of the changing situation of music culturally and economically, stating that the final movement, entitled Der Dichter spricht (The Poet Speaks), marked a realisation among composers that, due to the decline of patronage structures in the 19th century, their musical works must take on new meanings. There is no known complete manuscript of Kinderszenen. 13 movement: Von fremden Landern und Menschen (Of Foreign Lands and Peoples), G major Kuriose Geschichte (A Curious Story), D major Hasche-Mann (Blind Man's Bluff), B minor Bittendes Kind (Pleading Child), D major Glockes genug (Happiness), D major Wichtige Begebenheit (An Important Event), A major Traumerei (Dreaming), F major Am Kamin (At the Fireside), F major Ritter vom Steckenpferd (Knight of the Hobbyhorse), C major Fast zu ernst (Almost Too Serious), G-sharp minor Furchtenmachen (Frightening), E minor Kind im Einschlummern (Child Falling Asleep), E minor Der Dichter spricht (The Poet Speaks), G major Scenes From Childhood (Kinderscenen), Opus 15 is a set of 13 pieces of music that Schumann wrote for Piano in 1838. They are his reminiscences of childhood and have been beautifully scored for Brass Quintet by Keith Terrett. The most well known of the movements is Tråumerei (Dreaming) and has been used in movies to portray love scenes because of its tenderness and beauty. The music is for advanced performers and the collection contains close to 20 minutes of some very sublime & poetic music. Any of these pieces can be inserted into a recital program. 7U Scenes from Childhood (Kinderszenen) Op15, for Brass Quintet Schumann Keith Terrett Music for all Occasions An arrangement of a popular Schumann Piano work for Brass Quintet, great piece for pro Brass Ensembles. Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən], "Scenes from Childhood"), Op. 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838. Schumann wrote 30 movements for this work but chose 13 for the final version. The unused movements were later published in Bunte Blätter, Op. 99, and Albumblätter, Op. 124. Schumann initially intended to publish Kinderszenen together with Novelletten (Opus 21); the shared literary theme is suggested by the original title Kindergeschichten (Children's Tales). He told his wife Clara that the "thirty small, droll things", most of them less than a page in length, were inspired by her comment that he sometimes seemed "like a child". He described them in 1840 as "more cheerful, gentler, more melodic" than his earlier works. Movement No. 7 of the work, Träumerei, is one of Schumann's best known pieces; it is the opening and closing musical theme of the 1947 Hollywood film Song of Love, and Träumerei is the title of a 1944 German biographical film on Schumann. In Russia, a hummed choral a cappella version became known as mourning music, being played annually during the Minute of Silence on Victory Day. Originally called Leichte Stücke ("Easy Pieces"), the section titles were only added after the completion of the composition, and Schumann described them as "nothing more than delicate hints for execution and interpretation". Timothy D. Taylor, however, has discussed the choice of titles for this work in the context of the changing situation of music culturally and economically, stating that the final movement, entitled Der Dichter spricht (The Poet Speaks), marked a realisation among composers that, due to the decline of patronage structures in the 19th century, their musical works must take on new meanings. There is no known complete manuscript of Kinderszenen. 13 movement: Von fremden Landern und Menschen (Of Foreign Lands and Peoples), G major Kuriose Geschichte (A Curious Story), D major Hasche-Mann (Blind Man's Bluff), B minor Bittendes Kind (Pleading Child), D major Glockes genug (Happiness), D major Wichtige Begebenheit (An Important Event), A major Traumerei (Dreaming), F major Am Kamin (At the Fireside), F major Ritter vom Steckenpferd (Knight of the Hobbyhorse), C major Fast zu ernst (Almost Too Serious), G-sharp minor Furchtenmachen (Frightening), E minor Kind im Einschlummern (Child Falling Asleep), E minor Der Dichter spricht (The Poet Speaks), G major Scenes From Childhood (Kinderscenen), Opus 15 is a set of 13 pieces of music that Schumann wrote for Piano in 1838. They are his reminiscences of childhood and have been beautifully scored for Brass Quintet by Keith Terrett. The most well known of the movements is Tråumerei (Dreaming) and has been used in movies to portray love scenes because of its tenderness and beauty. The music is for advanced performers and the collection contains close to 20 minutes of some very sublime & poetic music. Any of these pieces can be inserted into a recital program. U$7U NPsx MP58 CHlp TXOP&(VXLPEHhangeQ7U!0 %3U !0.0000W@!0000-00-00 00:00:00!0W !148976W@QDidos Lament for Bb Trumpet Lute Keyboard When I am laid in earthqDido’s Lament for Bb Trumpet, Lute & Keyboard ( "When I am laid in earth'')7Uedp!2013-04-08 21:22:30!169610W7UQFrankie Johnny for C Trombone Euphonium Baritone Piano8UQFrankie & Johnny for C Trombone, Euphonium, Baritone & PianoU@7U160WishedW0qAn arrangement of Cwm Rhondda for Brass Quintet. Cwm Rhondda, taken from the Welsh name for the Rhondda Valley, is a popular hymn tune written by John Hughes (1873–1932). It is usually used in English as a setting for William Williams’s text Guide Me, O Thou Great Jehovah (or, in some traditions, Guide Me, O Thou Great Redeemer),[1] originally Arglwydd, arwain trwy’r anialwch in Welsh. On account of a line in this English translation, the tune (and hymn) is often called Bread of Heaven. In Welsh the tune is most commonly used as a setting for a hymn by Ann Griffiths, Wele’n sefyll rhwng y myrtwydd. John Hughes (22 November 1873 – 14 May 1932) was born in Dowlais and brought up in Llanilltud Faerdref (in English: Llantwit Fardre). At age 12 he began work in Glynn Colliery in his home town and subsequently became a clerk at the Great Western Colliery Pontypridd where he worked for over 40 years. He served as a deacon and leader of the congregational singing in Salem Baptist Chapel Llanilltud Faerdref.[2][3] The first version of the tune, called "Rhondda" was written in 1905 for the Cymanfa Ganu (hymn festival) in Pontypridd, when the enthusiasm of the 1904–1905 Welsh Revival still remained.[4] The present form was developed for the inauguration of the organ at Capel Rhondda, in Hopkinstown in the Rhondda valley, in 1907.[5] Hughes himself played the organ at this performance, using the English translation of William Williams’s words because of the large number of English-speaking industrial workers who had immigrated to the area.[6] A number of his other compositions were popular during his lifetime, but have not lasted. The name was changed from "Rhondda" to "Cwm Rhondda" by Harry Evans, of Dowlais, to avoid confusion with another tune by M O Jones. The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant-seventh chord—emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has now become firmly established. History[edit] William Williams Pantycelyn (named, in the Welsh style, ’Pantycelyn’ after the farm which his wife inherited) is generally acknowledged as the greatest Welsh hymnwriter.[9] The Welsh original of this hymn was first published as Hymn 10 in Mor o Wydr (Sea of Glass) in 1762. It comprised six verses.[10] (References to a five verse version in Pantycelyn’s Alleluia of 1745[11] appear to be incorrect.) It was originally titled Gweddi am Nerth i fyned trwy anialwch y Byd (Prayer for strength for the journey through the world’s wilderness). Peter Williams (1722-1796, no relation of the author but well known for his popular edition of the Welsh Bible, with notes.[12][13]) translated part of the hymn into the English version given above, with the title Prayer for Strength. It was published in Hymns on various subjects, 1771. This translation is the only Welsh hymn to have gained widespread circulation in the English-speaking world.[14] The present-day Welsh version, given above, is essentially a redaction of the original to parallel Peter Williams’s English version. A result of the translation process is that the defining phrase Bread of heaven does not actually occur in the original (where the Welsh would be Bara nefoedd; it is a paraphrase of the references to manna. The Welsh word Arglwydd corresponds more-or-less to the English Lord, in all its senses. It is used in the Old Testament to represent the Divine Name (the tetragrammaton) and in the New as the standard honorific for Jesus Christ. Accordingly Peter Williams translated it as Jehovah in accord with the practice of his time. Many English-language hymnals today translate it as Redeemer. The following version of the original is taken from Gwaith Pantycelyn (The Works of Pantycelyn). All but the second verse is given, with minor variations, in the Welsh Hymnbook of the Calvinist and Wesleyan Methodists, published by the assemblies of the two churches. es feature a["88308","168223","140556","78183","151528","59699","140617","140520","140618","188994","75247","4062","173346","4413","23092","32625","107764","6032","62959","31140"]!2020-09-23 23:17:51!1W7U!2019-09-25 13:25:07U182C63162-DF8F-11E9-BB4F-787U(#7U!622638W#7U!0W7U!0W!0Wx7U!1W1650x458WH7Up7U0!2(\H7U!0000-00-00 00:00:00!0W!0W!0\I7U!0W!87W!43W!2017-03-31 16:19:17{"width":300,"position-y-pc":"43","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":77,"width":38,"x":243,"center-y":96,"height":38,"center-x":262}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":223,"position-x-combined":"right","position-x":"right","position-y":"center","position-y-combined":"43%","average-center-x":262,"average-center-y":96,"id":"6E37CDCC-1625-11E7-8BAD-C6F683831BA5","position-x-pc":"87"}r Dichter spric!1Wmajor !1703W(Kinders!1271W of 13 p!2017-06-09 17:10:17 wro!0000-00-00 00:00:00re h!WWdhood an!176941Wscored f!1Wh Terret!3Wf the mo!4.00Wreaming)!2.00Wvies to !4.00Wuse of i!2.00W. The mu!0Wormers a!WWns close!0.00Wery subl!0Xof these!0Winto a r!5.00W QScenes from Childhood (Kinderszenen) Op15, for Brass Quintet!9W!0W!4W!2W!2021-04-28 20:17:46!2024-01-22 05:00:19!SchumannX 7U!Keith Terrett7U!1838W7U12009W0!sibW!250W!0WAScenes from Childhood for Brass(pro).siby7U`y7U!2024-01-22 04:54:42!4W?!3089Wy7U!2Wy7U!1.50X7U!2024-01-22 04:55:59U!1W@7U!0W7U!91481W7U!1Xh7U!0W7U11W7U0!13(Z !1Z!0Wz7U!WW!WW !0W!WWz7U!WW!WW !0Y{ "GroupOrd" : "140", "StoreGroupOrd" : "140", "StoreGroupID" : "3071", "GroupID" : "20428" } !15.2064W{7U!2021-04-28 20:21:29QScenes from Childhood Kinderszenen Op15 for Brass Quintet7U{7U10W{7U0Arioso by J.S.Bach arranged for C Trumpet & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. Bach composed this work at a time when family tragedies were prevalent in his life, and this is evident from the title of the text, which translates as “I stand with a foot in the grave“. The opening sinfonia in F major, for oboe and strings, originated in a concerto movement, now lost, which Bach subsequently recast as the slow movement of his harpsichord concerto in F minor, BWV 1056. hang!0W!0W!1W!0W!WW!0.0000W!2021-06-08 15:54:34aArioso Sinfonia to Cantata Ich steh mit einem Fu im Grabe for C Trumpet PianodefScor!0W!0W!3W!2013-05-17 15:36:57!0W!0WArioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for C Trumpet & Piano J.S. Bach arranged by Keith Terrett Keith Terrett Music for all Occasions Arioso by J.S.Bach arranged for C Trumpet & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. Bach composed this work at a time when family tragedies were prevalent in his life, and this is evident from the title of the text, which translates as “I stand with a foot in the grave“. The opening sinfonia in F major, for oboe and strings, originated in a concerto movement, now lost, which Bach subsequently recast as the slow movement of his harpsichord concerto in F minor, BWV 1056. 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Q87U1 3Uu7U137362!9\u7U!4283W!4W!0X *7U!1W(7U!0W)7U{ "GroupOrd" : "190", "StoreGroupOrd" : "190", "StoreGroupID" : "3047", "GroupID" : "22222" } '7U10.0000W*7U0!3[`w7U!4.00[w7U!0W!1W!0W:!WW!WW!0W!WWQ© 2007 www.musicforalloccasions.org.uk(keithterrett@gmail.com)!WW!2021-01-11 17:43:14U!2017-06-11 15:17:59!WW-7U!441997W!1WP*7U!3W -7U!8.00W'7U!4.00W,7U!8.00W*7U!4.00W(7U!0W)7U!WWP-7U!0.00W!Fugue for Two ViolinsHE!42W1372Wi0!1.99hX@!2021-01-11 19:02:45!1W!0W!115496W!1W An arrangement of Dido's lament by Henry Purcell arranged for Bb Trumpet, Lute & Keyboard. The Lute & Double Bass are optional. Dido's Lament" is the commonly used name for the noted aria, "When I am laid in earth", from the opera, Dido and Aeneas, by Henry Purcell (libretto by Nahum Tate). It is included in many classical music textbooks on account of its exemplary use of ground bass. The conductor Leopold Stokowski wrote a transcription of the piece for symphony orchestra. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk") and as the main theme to Downfall. It is played annually (by a military band) at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to November 11 (Armistice Day) in London's Whitehall.!3.00W!0W!1W!0W!WW!WW!0W!WW!Copyright © 2014 MFAO!WW!0Y87U!WW!0.00W7U["186392","391105","40927","198142","74299","74302","198359","95596","38077","136995","73301","31857","53468","36245","38076","186439","391123","101119","129194","98044"]7U7U!2020-09-20 22:23:44U!1W7U!2019-09-25 13:23:01U13736C252-DF8F-11E9-BB4F-787U7U!43848W7U!0W7U!0W An arrangement of Dido's lament by Henry Purcell arranged for Bb Trumpet & KB. Dido's Lament" is the commonly used name for the noted aria, "When I am laid in earth", from the opera, Dido and Aeneas, by Henry Purcell (libretto by Nahum Tate). It is included in many classical music textbooks on account of its exemplary use of ground bass. The conductor Leopold Stokowski wrote a transcription of the piece for symphony orchestra. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk") and as the main theme to Downfall. It is played annually (by a military band) at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to November 11 (Armistice Day) in London's Whitehall.rt!0W!0W!1W!0W!WW!0.0000W!2021-04-14 20:17:04!0W!0W!3W!0000-00-00 00:00:00!0W!0WDido’s Lament for Bb Trumpet, Lute & Keyboard ( "When I am laid in earth'') Henry Purcell Keith Terrett Music for all Occasions An arrangement of Dido's lament by Henry Purcell arranged for Bb Trumpet, Lute & Keyboard. The Lute & Double Bass are optional. Dido's Lament" is the commonly used name for the noted aria, "When I am laid in earth", from the opera, Dido and Aeneas, by Henry Purcell (libretto by Nahum Tate). It is included in many classical music textbooks on account of its exemplary use of ground bass. The conductor Leopold Stokowski wrote a transcription of the piece for symphony orchestra. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk") and as the main theme to Downfall. It is played annually (by a military band) at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to November 11 (Armistice Day) in London's Whitehall.U"7U25U@7U25UX7U25Up7Ux7U c2U7U"c2U7U(g85U7Ug85U7UW4U7UXf85U7Ue85U7U7Uc85U07U7UOm2UH7U7U m2U`7U7UX~`2Ux7U7U`2U7UHb85U7U7U&_2U7UhAT2U7U8DT2U7U>T2U7U7U7Ue7U4Ue7U7UH5Ue7U7U(t85Ue7Up85Ue7Uȍ7Uj6Uf7U885U(f7UI85U@f7UH7U85UXf7Uxa85U#3U85U#3U6UX7U7UH4U7UX2U$3Uh4U7U7U6U7U6U7U7Uh_2U7U85U7U885Up7U85UȒ7U7U^i2U7UΌ2U7Un4Up7U2U7U7U2U7Up7U5U`g7UHk 8Up7U6UHg7U@7U5U7U7Ux6o3Uh7U4Uh7U(b2Uh7U+_2Uh7U,_2Ui7Uh/_2U(i7U6U@i7U7UX:5UXi7Ux4Upi7Uh5o3Ui7Uh2Ui7U/_2Ui7U 4Ui7U7U16Ui7UX7U46Uj7U=4Uj7U45U0j7UH1_2UHj7U85U`j7U85Uxj7UXDe3Uj7U87Uj7U؝2Uj7UX85Uj7U85Uj7U)6Uk7U885U k7U85U8k7U85UPk7Up,5Uhk7Ux85Uk7U7UH85Uk7U85Uk7U7U4Uk7U2Uk7Ux7UX2Uk7U85Ul7UX 85U(l7UH!85U@l7U"85UXl7U3Upl7UH%85Ul7U07U&85Ul7U(6Ul7U&85Ul7UhG85Ul7U8<25Um7U7U 6Um7UZ85U0m7UP6UHm7U5U`m7UA6Uxm7U)_2Um7U54Um7U_85Um7U_85Um7U@7U`85Um7U`7Uc`7Un7Uf`7U n7U25U8n7U25UPn7U25Uhn7U7U c2Un7U"c2Un7U(g85Un7Ug85Un7UW4Un7UXf85Un7Ue85Uo7U7Uc85U(o7U7UOm2U@o7UБ7U m2UXo7U7UX~`2Upo7U7U`2Uo7UHb85Uo7UД7U&_2Uo7UhAT2Uo7U8DT2Uo7U>T2Up7U7U7Up7U4U0p7U7UH5UHp7U7U(t85U`p7Up85Uxp7U7Uj6Up7U885Up7UI85Up7UP7U85Up7Uxa85U $3U85U7U6U8$3U7UH4U07UX2UP$3Uh4U@7UȖ7U6Up7U6U7U87Uh_2U7U85U7U885UX7U85U7U7U^i2U7UΌ2U7Un4Uذ7U2U7UК7U2U7UH7U5Ug7U6Uq7U4UHs7U7U5Uq7Uh7Ux6o3U0s7U7U7U(b2U`s7U+_2Uxs7U,_2Us7Uh/_2Us7U6Us7U؛7UX:5Us7Ux4Us7Uh5o3Ut7Uh2U t7U7U{"width":275,"position-y-pc":"39","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":69,"width":95,"x":76,"center-y":116.5,"height":95,"center-x":123.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":71,"width":93,"x":76,"center-y":117.5,"height":93,"center-x":122.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"45%","position-x":"center","position-y":"top","position-y-combined":"39%","average-center-x":123,"average-center-y":117,"id":"A7A373BA-1623-11E7-8688-A8E8B933D54C","position-x-pc":"45"}!2W!550W!599W7U(7U7U7UX7U`7U7U87U7U7U7U7U7U7U؏7U7U7U#8U07U7U7Uh7U7U7U 7U7U7U87UP7U7U7U7U7U(7U7Uh7U7U7U87U(7Up7U7U7U`7UP7U07U7Uh7U7U7UP7U7U7U7UH7U07U@7U`7U7U7Up7Ux7U7UP7U7UH7U7Ux7UȐ7UЎ7U7U@7U7U7UX7U7U 7U7U !1x^ 7U!0W!1W!650x918W!0W!0W!5.00W!2023-04-16 07:28:09!2023-04-16 07:28:26!1484013W!1665562W!0000-00-00 00:00:00!0000-00-00 00:00:00 *0 TX>@$( LPv x PXF H   IPBH  zWXjpEH *0Aȳ7U$a137075@Q@7U!145079]07U!2022-07-04 07:54:50U10000-00-00 00:00:007U0aThe Saint’s Visit Havana with a Touch of W.A.Mozart for Bb Trombone-Euphonium (TC)U!60W!14W!3W!1W!2013-10-10 15:23:50!2022-07-04 07:54:521Traditional Arranged by Keith Terrett!WWБ7U!0W07U!0W !sibW!250W!0WaWhen The Saints Visit Havana with a touch of WAM for Bb Trom-Euph & Piano.sib !2013-10-10 15:23:50!0W!1994W!0W!2.00X@7U!2013-10-10 15:23:53U!1Wȓ7U!1W7U!0Wp7U!XX7U!30950W7U11W(7U0!2]7UAn arrangement of The Saint’s for Bb Trombone, Baritone or Euphonium. This unique chart incorporates an Alberti bass with a Rumba! Great lollipop for your next concert.7U!3.00W!0W!0W!0W!WW!WW!0W!WWa© 2007 www.musicforalloccasions.org,uk(keithterrett@gmail.com) Edited September 2013!WW!0.00Y@7U["77043","169572","61680","8379","29522","58091","169054","56829","361716","134050","62109","62099","361695","169148","361649","99166","55533","189467","62107"]!2020-09-27 16:57:10U!1W7U!2019-09-25 13:21:31U101FF638C-DF8F-11E9-BB11-78ȓ7U!10124Wp7U!0W!0WX7U!0W11W(7UP7U0An arrangement of The Saint’s for Bb Trombone or Euphonium. This unique chart incorporates an Alberti bass with a Rumba! Great lollipop for your next concert.!0W!0W!1W!0W!WW!0.0000W!2013-10-10 15:25:29aThe Saints Visit Havana with a Touch of WAMozart for Bb TromboneEuphonium TCU 7U!0W!0W!2W!0000-00-00 00:00:00!0W!0WQThe Saint’s Visit Havana with a Touch of W.A.Mozart for Bb Trombone-Euphonium (TC) Traditional Arranged by Keith Terrett Music for all Occasions An arrangement of The Saint’s for Bb Trombone, Baritone or Euphonium. This unique chart incorporates an Alberti bass with a Rumba! Great lollipop for your next concert.!0W!0W!0W!0W!2017-03-31 15:57:26A{"width":228,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"60CFD9A2-1622-11E7-A054-99E6E7E6B013","position-x-pc":"0"}7U7U!0W!196W!257W7U`7U7U7U`7Uh7U7Up7U07U(7U7U 7U7U7U7U7UP7U#8U87U7U 7U7U7Uؘ7UX7U7U7Up7U7U@7U7U7U7U07U07U7Uș7Uؒ7U@7U`7U7UH7U(7U7UX7Uh7Uؕ7Up7U7U7U7U7U7Ux7UP7U87UH7Uh7U7U7Ux7U7U7U7Uȓ7U7UH7U7U7U7U7Ux7U7U 7U7U7U(7UЗ7U7U!3X@7U!6.00W!3.00W?!6.00W7U!3.00W7U!0W!!1WW?0!1]P7U!1.50X7U!2021-06-08 15:52:37U!1W7U!0W@7U!0W07U!XX7U!818333W7U10W7U0!3\7UArioso by J.S.Bach arranged for C Trumpet & Piano. The term arioso, which in Italian literally means ‛airy’, designates a style of solo opera singing between recitative and aria. Arguably the famous arioso ever composed, today’s piece serves as the opening sinfonia of cantata BWV 156 by Johann Sebastian Bach. Bach composed this work at a time when family tragedies were prevalent in his life, and this is evident from the title of the text, which translates as “I stand with a foot in the grave“. 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Czardas, also spelled Csardas, Hungarian Csárdás, national dance of Hungary. A courting dance for couples, it begins with a slow section (lassu), followed by an exhilarating fast section (friss). The individual dancers carry themselves proudly and improvise on a simple fundamental step, their feet snapping inward and outward, the couples whirling. The music, often played by a Gypsy orchestra, is in 2/4 or 4/4 time with compelling, syncopated rhythms. The czardas developed in the 19th century from an earlier folk dance, the magyar kör. A ballroom dance adapted from the czardas is popular in eastern Europe. A theatrical czardas with complicated Slavic and Hungarian folk-dance steps appears in ballet, as in Léo Delibes’s Coppélia. Franz Liszt, in his Hungarian Rhapsodies, wrote music reminiscent of the czardas. fScor!7.99W!0W!1W!0W!WW!WW!0W!WW!WW!WW["55027","60755","49716","30694","60774","99185","67329","144018","60773","130391","85276","27632","144578","74289","27033","4070","29134","39451","517992","36144"]U!2020-09-10 03:58:51!1W8U!2019-09-25 13:01:39U13B17F0CE-DF8C-11E9-8692-788U~8U!7841W8U!0W`8U!0W!0WH8U!0W11W8U@8U0An arrangement for John Delvento of Czardas for solo Euphonium & Brass Quintet. This arrangement would suit brass ensembles looking for an exciting version of this old war horse. Solo parts are also available for Trumpet, Horn, Trombone & Tuba. Czardas, also spelled Csardas, Hungarian Csárdás, national dance of Hungary. A courting dance for couples, it begins with a slow section (lassu), followed by an exhilarating fast section (friss). The individual dancers carry themselves proudly and improvise on a simple fundamental step, their feet snapping inward and outward, the couples whirling. The music, often played by a Gypsy orchestra, is in 2/4 or 4/4 time with compelling, syncopated rhythms. The czardas developed in the 19th century from an earlier folk dance, the magyar kör. A ballroom dance adapted from the czardas is popular in eastern Europe. A theatrical czardas with complicated Slavic and Hungarian folk-dance steps appears in ballet, as in Léo Delibes’s Coppélia. Franz Liszt, in his Hungarian Rhapsodies, wrote music reminiscent of the czardas. The Mp3 features a live recording of Czardas performed by Stadtmusik Biel, with Stephan Gräub on Euphonium. ScoresLicensePACzardas for solo Euphonium Brass Quintet BC VersionU!0W!0W!5W!2013-03-15 21:42:13!0W!0W! Czardas for solo Euphonium & Brass Quintet (BC Version) Vittorio Monti (1868-1922) Keith Terrett Music for all Occasions An arrangement for John Delvento of Czardas for solo Euphonium & Brass Quintet. Czardas, also spelled Csardas, Hungarian Csárdás, national dance of Hungary. A courting dance for couples, it begins with a slow section (lassu), followed by an exhilarating fast section (friss). The individual dancers carry themselves proudly and improvise on a simple fundamental step, their feet snapping inward and outward, the couples whirling. The music, often played by a Gypsy orchestra, is in 2/4 or 4/4 time with compelling, syncopated rhythms. The czardas developed in the 19th century from an earlier folk dance, the magyar kör. A ballroom dance adapted from the czardas is popular in eastern Europe. A theatrical czardas with complicated Slavic and Hungarian folk-dance steps appears in ballet, as in Léo Delibes’s Coppélia. Franz Liszt, in his Hungarian Rhapsodies, wrote music reminiscent of the czardas. sSimilarS!0(]PZ7U!0W!38W!24W!2017-03-31 13:38:131{"width":264,"position-y-pc":"24","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":31,"width":85,"x":57,"center-y":73.5,"height":85,"center-x":99.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":32,"width":83,"x":58,"center-y":73.5,"height":83,"center-x":99.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":30,"width":86,"x":59,"center-y":73,"height":86,"center-x":102}]},"height":300,"position-x-combined":"38%","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":100.333333333333,"average-center-y":73.3333333333333,"id":"EE4321E0-160E-11E7-980C-E367881CEEA0","position-x-pc":"38"}^7UdefScor!3W!211W!239W8UP67U8U8UP8UX8U8U`8U 8U8U8U8U}8U57U8U8U@8Uh#8U(8U~8U8U8UЅ8UȄ8UH8U8U67U`8Ux8U08U8U8U8U 8U 67U8U8U~8U08UP8U8U88U8U8UH8UX8Uȁ8U`8Ux8UЂ8Ux8U8U~8Uh67U@8U(8U8~8UX8U8U؃8Uh~8Up8U~8U}8U8Up8U867U8U57U8U؀8Uh8U8U8U8U8U8U8UdefScor!2021-02-03 20:29:18ityS!0000-00-00 00:00:00H!WW0c7U!906821WPc7U!0WdefScor!0WZipConve!0.00WonStarte!15.19Wc7U!7.20Wc7U!0W,d7U!WWeScores!0.00WishedZi!650x841W !0W An arrangement for classical Brass Quintet of a popular English sea shanty with variations. This arrangement makes a great ’lollipop’ for your next performance. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailors Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of soberingor castigating, or simply abusingthe sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the songs chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completedonly Welsh h!5.00W!0W!1W!0W!WW!WW!0W!WWqCopyright 2009 © www.musicforalloccasions.org.uk(keithterrett@gmail.com) Edited December 2012ra nefoe!WW!1Y7U!3W!10.00W7U!5.00W!10.00W7U!5.00W7U!0Wp7U!WW7U!0.00W7U["88308","168223","140556","78183","151528","59699","140617","140520","140618","188994","75247","4062","173346","4413","23092","32625","107764","6032","62959","31140"]!2020-09-23 06:28:08U!1W An arrangement for classical Brass Quintet of a popular English sea shanty with variations. This arrangement makes a great ’lollipop’ for your next performance. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailors Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of soberingor castigating, or simply abusingthe sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the songs chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completed. The air was taken from a traditional Irish dance and march tune, "Or So do Bheatha ’Bhaile", originally in dorian mode. The same tune has also been used for other songs, possibly Ten Little Injuns, according to William E. Studwell in the "Americana Song Reader". The music was first reproduced in printed form in 182425 in Coles Selection of Favourite Cotillions published in Baltimore. However, the lyrics were first published in 1891 under the title "What to do with a Drunken Sailor?". Another version appears in The Shanty Book.as written in 1What Shall We Do With The Drunken Brass Quintet? (pro-version) Sea Shanty Arr:Keith Terrett Keith Terrett Music for all Occasions An arrangement for classical Brass Quintet of a popular English sea shanty with variations. This arrangement makes a great ’lollipop’ for your next performance. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailors Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of soberingor castigating, or simply abusingthe sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the songs chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completedss parts.{"width":300,"position-y-pc":"16","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":5,"width":46,"x":136,"center-y":28,"height":46,"center-x":159}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":180,"position-x-combined":"53%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":159,"average-center-y":28,"id":"ECD044E6-15FF-11E7-9AF0-E6EA84F51DE1","position-x-pc":"53"}ive !1W!550W!336W7U'7U`&7U7U7U7U7U&7U7U%7U7Ux7U@7U&7U%7U7U7U #8U7U7Ux7UH&7U%7U07U&7U7U&7U7U7U%7Up7UH7UH7U7U&7U7Up%7U07U7U7U7U7U7U@%7U7U7U07U7U7U87U0&7U%7Up7U '7U7U7U7U7U7U@7U7U7U`7U7U 7U7U&7UX%7U&7U`7U@7U7U7Ux7U7UP7U7U(7Ugrammato!2021-01-19 17:04:31U165A4785E-5A78-11EB-99FF-788383FEA0E1er !17589W!0W!0W!0W!1W!650x501W!0W!0W!5.00W!2023-05-03 09:29:29!2023-05-03 09:29:58!2557052W!2822161W!0000-00-00 00:00:00!0000-00-00 00:00:00Qh'7U187Uٱ62143l!19997U !0W@!4W`17.95WuantitySetOfPart0!ItemID.8U !361602W !36766W7U!60W !67047W"right",QStanley Trumpet Voluntary for 2 D Trumpets & Organ (Pro) no pedals.sibQStanley Trumpet Voluntary Op. 6 No. 5; 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!2023-04-29 06:35:18fere!2023-04-29 06:35:43word!1281751Wre-or-le!1263238Win all i!0000-00-00 00:00:00 Old!0000-00-00 00:00:00Divi!X8X8U!WW8U!0W8U1WW0!sibW7U!250W$7U!0W`7UAFour Classic English Chorales for Brass.sibU7U!2022-07-29 13:15:22U!5Wr7U!2023W@7U!1W7U!Various composers7U!Keith Terrett7U!0W !0[`7UACwm Rhondda for Brass Quartet-Quintet.sib !2014-05-02 10:04:07!16W!2353WPA7U!4W!1X`7U!0W(#7U!WW#7U!0.0000W#7U!2014-05-02 10:04:43U1Cwm Rhondda for Brass QuartetQuintetU!0W7U!0W !0HZ!1WhB7U!1Z !0Y !WW!WWB7U!0W!WW Copyright © 2008 Music for all Occasions Publishers (keithterrett@gmail.com) www.music foralloccasions.org.uk Edited 2014?!WWC7U!1.50XPC7U!2023-06-20 12:14:45!0W?!0WD7U!0WC7U!0W!!10W?0/_2U8t7U 4UPt7Uh7U16Uht7U7U46Ut7U=4Ut7U45Ut7UH1_2Ut7U85Ut7U85Ut7UXDe3Uu7U87U(u7U؝2U@u7UX85UXu7U85U7U)6U7U885U7U85U7U85U7Up,5U7Ux85U7UX7UH85U07U85UH7U87U4U`7U2Ux7UЛ7UX2U7U85U7UX 85U7UH!85U7U"85U7U3U7UH%85U 7Uh7U&85U87U(6UP7U&85Uh7UhG85U7U8<25U7UȜ7U 6U7UZ85U7UP6U7U5U7UA6U7U)_2U(7U54U@7U_85UX7U_85Up7U7U`85U7U7Uc`7U7Uf`7U7U25U7U25U7U25U7Uؙ7U c2U7U"c2U07U(g85UH7Ug85U`7UW4Ux7UXf85U7Ue85U7U87Uc85U7U7UOm2U7U7U m2U7Up7UX~`2U7UH7U`2U 7UHb85U87U(7U&_2UP7UhAT2Uh7U8DT2U7U>T2U7U7U7U7U4U7U7UH5U7U`7U(t85U7Up85U7UX7Uj6U(7U885U@7UI85UX7U7U85Up7Uxa85U7U85U8h7U6Ug7UP7UH4Uh$3UX2U`3Uh4U$3U 7U6Uhh7U6Uh7U7Uh_2U 7U85Ug7U885UPh7U85U87U7U^i2UP7UΌ2Uh7Un4UX7U2Up7U(7U2U7U7U5U@r7U6U`7U4U7U7U5Ux7U7Ux6o3U7Uh7U7U(b2U7U+_2U7U,_2U(7Uh/_2U@7U6UX7U07UX:5Up7Ux4U7Uh5o3U7Uh2U7U/_2U7U 4U7U7U16U7U7U46U7U=4U07U45UH7UH1_2U`7U85Ux7U85U7UXDe3U7U87U7U؝2U7UX85U7U85U7U)6U 7U885U87U85UP7U85Uh7Up,5U7Ux85U7U7UH85U7U85U7Up7U4U7U2U7U7UX2U7U85U(7UX 85U@7UH!85UX7U"85Up7U3U7UH%85U7U7U&85U7U(6U7U&85U7UhG85U7U8<25U7U 7U 6U07UZ85UH7UP6U`7U5Ux7UA6U7U)_2U7U54U7U_85U7U_85U7UЧ7U`85U7U7Uc`7U 7Uf`7U87U25UP7U25Uh7U25U7U7U c2U7U"c2U7U(g85U7Ug85U7UW4U7UXf85U7Ue85U(7U7Uc85U@7U87UOm2UX7U`7U m2Up7U 7U An arrangement of Pachelbel’s Chorale Theme & Seven Variations, arranged for Trombone Quintet. Chorales constitute almost half of Pachelbel’s surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example is Wenn mein Stündlein vorhanden ist: The piece begins with a chorale fugue that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e., the original hymn tune can be seen initially. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel wrote numerous chorales using this model (Auf meinen lieben Gott, Ach wie elend ist unsre Zeit, Wenn mein Stündlein vorhanden ist, etc.), which soon became a standard form. A distinctive feature of almost all of Pachelbel’s chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel’s knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, Nun lob, mein Seel, den Herren (Psalm 103) is based on the German polyphonic song; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. Wir glauben all’ an einen Gott is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, Jesus Christus, unser Heiland der von uns is a typical bicinium chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in sixteenth notes. Pachelbel only used the bicinium form in two other pieces. U A challenging arrangement of J. Pachelbel’s Chorale Partita &Seven Variations, arranged for Trombone Quintet. Pachelbel’s grand Chorale Partita with Seven Variations in G is based on the 17th Century Protestant German hymn tune "Alle Menschen müssen sterben" (All of Mankind is Mortal) by Jakob Hintze. The original form of the work was in C major with eight variations, composed for Organ. Bach, being greatly influenced by Pachelbel, later took up the melody for use in one of his own Cantatas. Keith Terrett has done a great job arranging these elaborate variations of about 6 minutes in length for a quintet of advanced performers. A great piece for your quintet, and one that will present everyone with an interesting part. Some great low notes for your Bass trombone! Chorales constitute almost half of Pachelbel’s surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example is Wenn mein Stündlein vorhanden ist: The piece begins with a chorale fugue that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e., the original hymn tune can be seen initially. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel wrote numerous chorales using this model (Auf meinen lieben Gott, Ach wie elend ist unsre Zeit, Wenn mein Stündlein vorhanden ist, etc.), which soon became a standard form. A distinctive feature of almost all of Pachelbel’s chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel’s knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, Nun lob, mein Seel, den Herren (Psalm 103) is based on the German polyphonic song; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. Wir glauben all’ an einen Gott is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, Jesus Christus, unser Heiland der von uns is a typical bicinium chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in sixteenth notes. Pachelbel only used the bicinium form in two other pieces. Q Chorale Partita with Seven Variations for Trombone Quintet (1 Alto, 3 Tenors & Bass) Johann Pachelbel arr. Keith Terrett Music for all Occasions An arrangement of Pachelbel’s Chorale Theme & Seven Variations, arranged for Trombone Quintet. Chorales constitute almost half of Pachelbel’s surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example is Wenn mein Stündlein vorhanden ist: The piece begins with a chorale fugue that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e., the original hymn tune can be seen initially. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel wrote numerous chorales using this model (Auf meinen lieben Gott, Ach wie elend ist unsre Zeit, Wenn mein Stündlein vorhanden ist, etc.), which soon became a standard form. A distinctive feature of almost all of Pachelbel’s chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel’s knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, Nun lob, mein Seel, den Herren (Psalm 103) is based on the German polyphonic song; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. Wir glauben all’ an einen Gott is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, Jesus Christus, unser Heiland der von uns is a typical bicinium chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in sixteenth notes. Pachelbel only used the bicinium form in two other pieces. 07U7U7U7U7U7U7UȠ7U7U7U7Ux7U 7U@7Uh7U7U7U#8U7U7Ux7U7U87U07U7U7Up7Uȝ7U7U7Up7UH7UH7U7U7U7U 7U07U7U7U7U7U7U7U7U7U07UȚ7U7U87U7UP7UP7UС7U7U7U7U7U7U@7U7U؜7U`7U7U 7U؟7U7U7UX7U`7U@7UО7U7Ux7U7UP7U7U(7U!0_7U!1W!650x841W!0W!0W!5.00W!2023-04-21 02:32:19!2023-04-21 02:32:57!3830707W!6633529W!0000-00-00 00:00:00!0000-00-00 00:00:00  ]`dh18 ?@Y`*0 %()018 [`z[`$(x 5632202p7U7U@7UD=7UP7UDP&7U`7UD'7Up7UD0'7U7UDP'7U7UDp'7U7UD'7U7UH7U`s8UD8U_85UZ85UPy8UDQ8Uy8UDQ8Uy8UDR8Uy8UD R8Up^7U $7U 8U27U7UM3UD3U(7UDr7U7UD047U7Up7U8UD-@8Up58UD-@8U"8UDt!8U`7UDH7U7UDP47U7UDPN7U7UDpN7U^7U  `7U`7UD7U7UD7U7UD7U7UD7U7UD07U7UDP7U7UDp7U7UD7U 7UD@7U07UD`7U@7UD7UP7UD7U`7UD7Up7UD07U7UDP7U7UDp7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD 7U7UD07U7UDP7U 7UDP_4U07UDp_4U@7UD_4UP7UD7U`7UD7Up7UD07U7UD P7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD 7U7UD07U7UDP7U 7UDp7U07UD7U@7UD7UP7UD7U`7UD07Up7UDP7Up85U7UD7U7UD7U7UD7U7UD 7U7UD@7U7UD`7U6U7UD 7U7UD@ 7U7UD` 7U7UD 7U 7UD 7U07UD 7U@7UD7UP7UD7U`7UD 7Up7UD@7U7UD 7U7UD 7U7UD 7U7UD@ 7U7UD` 7U7UD 7U7UD 7U7UD 7U7UD 7U7UD 7U 7U07U@7UP7U`7Up7UD 7U7UD@ 7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD7U7UD 7U07U7Uy8UD@R8U_85UZ85U8UDo8U8UDPp8U8UDpp8U8UDp8U^7U *7U 7U2 7U7U87Ua3U=8UD8U"7UD~7U7U"7UHX8Up 8U$4U0:8U@8UC8Up"7UD0}7U#7UD0~7U"7UD}7U"7UD}7U_7U  07U 7UDP7U7UD7U7UD7U 7UD7U07UD07U@7UDP7UP7UDp7U`7UD7Up7UD@7U7UD`7U7UDp7U7UD7U7UDД7U7UD7U7UD7U7UD07U7UD7U7UD7U7UD7U 7UD`7U07UD7U@7UD 57UP7UDp7U`7UD7Up7UD7U7UD7UQ7U1h7UdCz135769!2021-01-19 17:16:25U!1W`7U!0W 7U!108997W7U!1[7U!0WH7U!1Wp7U!0W7U{ "GroupOrd" : "190", "StoreGroupOrd" : "190", "StoreGroupID" : "3071", "GroupID" : "20428" } !0.0000W!2021-01-19 17:19:47QWhat Shall We Do With The Drunken Brass Quintet proversion$!0W!0W!4W!2013-04-09 17:31:40!0W!0W!0X!0W!53W!16W!2017-03-31 11:50:48!2017-06-09 17:10:17!0000-00-00 00:00:00!WW!526392W 1:6U7Um 153082qSonatas No 1 & 2 for Solo Viola.sib Piano.sibsib Viola and Cello.sibn).siboung player) 2014.sibU!115214W!4.00W7U10W7U0qStanley Trumpet Voluntary Opus 6 No.5 for 2 Bb Trumpets & Piano (Young player version) in EboreExchang!60W!19W!2W!2W!2014-08-05 09:03:52!2022-08-05 03:33:21AJohn Stanley (1713-86) arranged by Keith Terrett7U!Keith Terrett7U10W0!sibW!250W!0WqStanley Trumpet Voluntary (Opus 6, No. 5 in D), for 2 Bb Trumpets & Piano (Young player) 2014.sib0!2014-08-05 09:03:52!1W!2536W!1W!1.99X(7U!2014-08-05 09:03:58U!1W7U!0Wh7U!0WX7U!0X7U!0W7U11W7U0!2007^7U!3WAn arrangement of the Stanley Trumpet Voluntary for two Bb Trumpets & Piano, in the key of in a low tessitura for young trumpeters. Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. ? !]]7U!0W!WWQ© 2007 www.musicforalloccasions.org.uk(keithterrett@gmail.com)07U!WW!0.00Y(7U["409070","26415","109303","121447","37383","129188","58285","37382","58168","409130","182432","494342","107615","173399","99151","25420","40279","37812","61233"]!2020-09-16 18:49:45U!1W7U!2019-09-25 13:07:42U1136CBA9A-DF8D-11E9-8692-787U!5304WX7U!0W!0W@7U!0W11W7U87U0An arrangement of the Stanley Trumpet Voluntary for two Bb Trumpets & Piano, in a low tessitura for young trumpeters. Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. 7U!0]7U!WW!0.0000W!2014-08-05 09:07:40qStanley Trumpet Voluntary Opus 6 No5 for 2 Bb Trumpets Piano Young player version in EbeID?  @!0W!0W!8W!2013-04-18 13:55:21!0W!0WStanley Trumpet Voluntary Opus 6 No.5 for 2 Bb Trumpets & Piano (Young player version) in Eb John Stanley (1713-86) arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement of the Stanley Trumpet Voluntary for two Bb Trumpets & Piano, in the key of in a low tessitura for young trumpeters. Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. k!0Y@neA!0W 7U!0W 7U!0WdefScor!2017-03-31 14:23:05enH!2021-01-11 19:47:34U!0000-00-00 00:00:00U!WWt 7U!963371WeExchang!1WrIDPubl!3W( 7U!8.00W 7U!4.00W 7U!8.00WeExchang!4.00WEPSCoun!0W7U!WW A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":199,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"AEC1017A-1601-11E7-BCA1-CCDD31D9E1F5","position-x-pc":"0"}7U!0W!300W!199WP7U7Uh7U(7U7U7U(7U 7U7U7U@7U7Ux7U7U7U 7U7U#8Uȣ7U87U7UP7U7U7U7UH7U7U7U7U7U7U7U7U7U7U07Ux7Uh7UФ7U7UX7Uب7U7UH7U7U7Uh7U7U7Up7U87U7U7Up7U7UȦ7Uآ7U7U07Ux7U7U7U7U7UX7U07U7U`7U7U7Ux7U(7Up7U7U@7U7U7U`7U9.2085277UX~`2U7U7U`2U7UHb85U7U`7U&_2U7UhAT2U7U8DT2U7U>T2U7UH7U7U07U4UH7UP7UH5U7U7U(t85U07Up85UH7U7Uj6U`7U885Ux7UI85U7U7U85U7Uxa85U7U85Ur7U6UXr7U7UH4Ux3UX2U3Uh4U3UX7U6Ur7U6Us7U7Uh_2U7U85U(r7U885Ur7U85U7U@7U^i2Uл7UΌ2U7Un4U;7U2U<7U7U2U <7UX7U5U7Uh8U@7U6U7Uإ7U5U7U7Ux6o3U7U4U7U(b2U07U+_2UH7U,_2U`7Uh/_2Ux7U6U7U7UX:5U7Ux4U7Uh5o3U7Uh2U7U/_2U7U 4U 7U7U16U87U@7U46UP7U=4Uh7U45U7UH1_2U7U85U7U85U7UXDe3U7U87U7U؝2U7UX85U(7U85U@7U)6UX7U885Up7U85U7U85U7Up,5U7Ux85U7U7UH85U7U85U7U7U4U7U2U07U`7UX2UH7U85U`7UX 85Ux7UH!85U7U"85U7U3U7UH%85U7U7U&85U7U(6U7U&85U 7UhG85U87U8<25UP7Ux7U 6Uh7UZ85U7UP6U7U5U7UA6U7U)_2U7U54U7U_85U7U_85U(7U(7U`85U@7UH7Uc`7UX7Uf`7Up7U25U7U25U7U25U7Uh7U c2U7U"c2U7U(g85U7Ug85U7UW4U07UXf85UH7Ue85U`7U7Uc85Ux7U7UOm2U7U7U m2U7U7UX~`2U7U7U`2U7UHb85U7U7U&_2U7UhAT2U 7U8DT2U87U>T2UP7U7U7Uh7U4U7U7UH5U7U7U(t85U7Up85U7U7Uj6U7U885U7UI85U7U87U85U(7Uxa85U3U85U7U6U؎3U7UH4Ug7UX2U3Uh4UP7U7U6U7U6U7U 7Uh_2U8<7U85U7U885Uh7U85UP<7U7U^i2Uh<7UΌ2U<7Un4Uz7U2U z7U 7U2U8z7U07U5U7U6U7U4U7Ux!7U5U07U07Ux6o3U7U*7U7U(b2U7U+_2U7U,_2U7Uh/_2U7U6U7U!7UX:5U(7Ux4U@7Uh5o3UX7Uh2Up7U/_2U7U 4U7U07U16U7Ux7U46U7U=4U7U45U7UH1_2U7U85U07U85UH7UXDe3U`7U87Ux7U؝2U7UX85U7Ua$7U!5.00_$7U!2023-02-21 04:16:54!2023-02-21 04:18:15!18256416W!6379770W!0000-00-00 00:00:00!0000-00-00 00:00:00Q(7U885U7UI85U7U7U85U7Uxa85U7U85U7U6U7UP7UH4UP3UX2U3Uh4Uh3U 7U6U87U6UP7U7Uh_2UЄ7U85Ux7U885U 7U85U7U7U^i2U7UΌ2U7Un4U07U2UH7Ux&7U2U`7U7U5U7U6U7U4UH7U8'7U5U7U,7Ux6o3U07U87Up7U(b2U`7U+_2Ux7U,_2U7Uh/_2U7U6U7U'7UX:5U7Ux4U7Uh5o3U7Uh2U 7U/_2U87U 4UP7U)7U16Uh7U8-7U46U7U=4U7U45U7UH1_2U7U85U7U85U7UXDe3U7U87U(7U؝2U@7UX85UX7U85Up7U)6U7U885U7U85U7U85U7Up,5U7Ux85U7U*7UH85U7U85U07U)7U4UH7U2U`7UX+7UX2Ux7U85U7UX 85U7UH!85U7U"85U7U3U7UH%85U7U(7U&85U 7U(6U87U&85UP7UhG85Uh7U8<25U7Up(7U 6U7UZ85U7UP6U7U5U7UA6U7U)_2U7U54U(7U_85U@7U_85UX7U -7U`85Up7U@(7Uc`7U7Uf`7U7U25U7U25U7U25U7U`)7U c2U7U"c2U7U(g85U07Ug85UH7UW4U`7UXf85Ux7Ue85U7U'7Uc85U7U+7UOm2U7U'7U m2U7U*7UX~`2U7U(7U`2U7UHb85U 7U*7U&_2U87UhAT2UP7U8DT2Uh7U>T2U7U-7U7U7U4U7U(7UH5U7U+7U(t85U7Up85U7U-7Uj6U7U885U(7UI85U@7U0,7U85UX7Uxa85U7U85U`7U6U7U,7UH4U3UX2Uȏ3Uh4U3U,7U6U7U6U7U/7Uh_2Ux7U85U7U885Ux7U85U7U)7U^i2U7UΌ2U7Un4U7U2U7U07U2U7U(+7U5U@7U6UH7U4U7Up17U5U`7Ux8Ux6o3U7UH97UL8U(b2U7U+_2U7U,_2U7Uh/_2U(7U6U@7U17UX:5UX7Ux4Up7Uh5o3U7Uh2U7U/_2U7U 4U7U(47U16U7Uy8U46U7U=4U7U45U07UH1_2UH7U85U`7U85Ux7UXDe3U7U87U7U؝2U7UX85U7U85U7U)6U8U885U 8U85U88U85UG8Up,5U G8Ux85U8G8U57UH85UPG8U85UhG8U37U4UG8U2UG8U0w8UX2UG8U85UG8UdefScor!0X^057U!5.00W!2023-04-27 13:47:09!2023-04-27 13:48:00885UP7U85U#7U8U^i2U#7UΌ2U#7Un4U7U2U7U57U2U7U88U5UM8U6U8U4U8U67U5U8U8<7Ux6o3U8UT7U@8U(b2U08U+_2UH8U,_2U`8Uh/_2Ux8U6U8U67UX:5U8Ux4U8Uh5o3Uؔ8Uh2U8U/_2U8U 4U 8U897U16U88U<7U46UP8U=4Uh8U45U8UH1_2U8U85U8U85Uȕ8UXDe3U8U87U8U؝2U8UX85U(8U85U@8U)6UX8U885Up8U85U8U85U8Up,5U8Ux85UЖ8U(:7UH85U8U85U8U97U4U8U2U08U:7UX2UH8U85U`8UX 85Ux8UH!85U8U"85U8U3U8UH%85Uؗ8UX77U&85U8U(6U8U&85U 8UhG85U88U8<25UP8U77U 6Uh8UZ85U8UP6U8U5U8UA6UȘ8U)_2U8U54U8U_85U8U_85U(8Uh<7U`85U@8U77Uc`7UX8Uf`7Up8U25U8U25U8U25U8U87U c2UЙ8U"c2U8U(g85U8Ug85U8UW4U08UXf85UH8Ue85U`8U(77Uc85Ux8U:7UOm2U8U67U m2U8U@:7UX~`2U8U87U`2Uؚ8UHb85U8U97U&_2U8UhAT2U 8U8DT2U88U>T2UP8U<7U7Uh8U4U8U77UH5U8U0;7U(t85U8Up85Uț8U(=7Uj6U8U885U8UI85U8Ux;7U85U(8Uxa85U7U85UpN8U6UN8U <7UH4Up3UX2U3Uh4U3U;7U6UN8U6UN8U`>7Uh_2U(7U85UM8U885UN8U85U@7U87U^i2UX7UΌ2Up7Un4U(7U2U@7U?7U2UX7Up:7U5U8U6U8U4U8U@7U5U08U@8Ux6o3U8U7U8U(b2U8U+_2UȞ8U,_2U8Uh/_2U8U6U8UA7UX:5U(8Ux4U@8Uh5o3UX8Uh2Up8U/_2U8U 4U8UpC7U16U8U8U46UП8U=4U8U45U8UH1_2U8U85U08U85UH8UXDe3U`8U87Ux8U؝2U8UX85U8U85U8U)6Uؠ8U885U8U85U8U85U 8Up,5U88Ux85Ux8U`D7UH85U8U85U8U@C7U4U8U2U8UD7UX2U8U85U8UX 85U 8UH!85U88U"85UP8U3Uh8UH%85U8UA7U&85U8U(6U8U&85U8UhG85U8U8<25U8UA7U 6U8UZ85U(8UP6U@8Uf-defens!5139432]E7U!7183272W!0000-00-00 00:00:00!0000-00-00 00:00:00 (0`h<@PX {8UKPDH-0 IPIPIP*0 {8UHP  GHjp@H0"}027Q67U1T7UٲK972757AFürchtenmachen for Brass Quintet (Pro-version)@!9W`!0W!4W!2W12022-07-28 04:32:16UW0!60097WU7U!3.99W8U10Wx8U0!60W !An arrangement for two Trumpets & Organ of John Stanley’s Trumpet Voluntary; which will suit professional players with good chops! Other versions are available in alternative keys for amateur and young players in my Sibelius store. Charles John Stanley (January 17, 1712 - May 19, 1786) was an English composer and organist. Biography: Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. Works: Opus 1 Eight Solos for Flute and Continuo (1740) Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745) Opus 3 Six Cantatas (1742) Opus 4 Six Solos for Flute and Continuo (1745) Opus 5 Ten Voluntaries for Organ (1748) Opus 6 Ten Voluntaries for Organ (1752) Opus 7 Ten Voluntaries for Organ (1754) Opus 8 Six Cantatas (1751) Opus 9 Three Cantatas (1751) Opus 10 Six Concertos for Organ or Harpsichord (1775) Preceded by William Boyce Master of the King’s Music 1779-1786 Succeeded by William Parsons. MFAO Best Seller! An arrangement of Stanley’s Trumpet Voluntary Opus 6, No. 5; for two Trumpets & Organ(Manuals), to suit professional players in D. If you need a different transposed trumpet part, e-mail me your requirements, and I will up-load parts within 24hrs:keithterrett@gmail.com There is a version for Brass Quintet and a lower version for solo Trumpet & Organ; published in Canada by Cherry Classics:http://www.cherryclassics.com/ Trumpet Voluntary is the title of several English keyboard pieces from the Baroque era. Most commonly played on the organ (they are utilizing the trumpet stop, hence the name), they generally consist of a slow introduction followed by a flamboyant faster section with the right hand playing fanfare-like figures over a simple accompaniment in the left hand. The organist and composer John Stanley wrote a number of trumpet voluntaries, as did many of his lesser contemporaries. The most famous piece known by that name, however, is a composition by Jeremiah Clarke, properly a rondo for keyboard named Prince of Denmark’s March. This piece was incorrectly attributed to Henry Purcell for many years, particularly in a well-known arrangement for trumpet, string orchestra and organ by Sir Henry Wood. Other famous organ voluntaries are those of Clarke’s teacher John Blow. Peter Sellers references the song and Clarke/Purcell attribution question in his comedic song "Trumpet Volunteer"!2021-01-11 19:05:21UQStanley Trumpet Voluntary Op 6 No 5 for Two Trumpets Organ Proh7U!0W!0W!9W!2013-04-09 00:54:00!0W!0WStanley Trumpet Voluntary Op. 6 No. 5; for Two Trumpets & Organ (Pro) John Stanley Keith Terrett Music for all Occasions An arrangement for two Trumpets & Organ of John Stanley’s Trumpet Voluntary; which will suit professional players with good chops! Other versions are available in alternative keys for amateur and young players in my Sibelius store. Charles John Stanley (January 17, 1712 - May 19, 1786) was an English composer and organist. Biography: Stanley, who was blind from an early age, studied music with Maurice Greene and held a number of organist appointments in London, such as St Andrew’s, Holborn from 1726. He was a friend of George Frideric Handel, and following Handel’s death, Stanley joined first with John Christopher Smith and later with Thomas Linley to continue the series of oratorio concerts Handel had established, and succeeded him as a governor of the Foundling Hospital (continuing his tradition of performing "Messiah" for them). In 1779, Stanley succeeded William Boyce as Master of the King’s Musick. Stanley’s works include the opera Teraminta, the dramatic cantata The Choice of Hercules, twelve other cantatas with texts by John Hawkins, the oratorios Jephtha, The Fall of Egypt and Zimri, and instrumental music, notably three volumes of Voluntaries for organ (1748, 1752, and 1754). Nearly all of the voluntaries feature a short, slow introduction followed by either a solo-stop movement (such as the so called trumpet voluntaries) or a fugue. Some of the former have been arranged in modern times for string chamber orchestra and trumpet. Works: Opus 1 Eight Solos for Flute and Continuo (1740) Opus 2 Six Concertos for strings (or organ & strings or flute & continuo) (1742/1745) Opus 3 Six Cantatas (1742) Opus 4 Six Solos for Flute and Continuo (1745) Opus 5 Ten Voluntaries for Organ (1748) Opus 6 Ten Voluntaries for Organ (1752) Opus 7 Ten Voluntaries for Organ (1754) Opus 8 Six Cantatas (1751) Opus 9 Three Cantatas (1751) Opus 10 Six Concertos for Organ or Harpsichord (1775) Preceded by William Boyce Master of the King’s Music 1779-1786 Succeeded by William Parsons. U!0x\m7U!0W!55W!37W!2017-03-31 12:04:15{"width":300,"position-y-pc":"37","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":36,"width":90,"x":120,"center-y":81,"height":90,"center-x":165}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":38,"width":87,"x":121,"center-y":81.5,"height":87,"center-x":164.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":218,"position-x-combined":"55%","position-x":"center","position-y":"top","position-y-combined":"37%","average-center-x":164.75,"average-center-y":81.25,"id":"CD44258C-1601-11E7-AAF6-9247297A2E80","position-x-pc":"55"}8U!2W8U!800W !534W?["104823","84079","52169","7634","81183","37501","83051","504459","48730","31750","110385","34732","66701","46934","34003","71244","85679","91369","83050"]U8U!2020-09-19 20:01:35!1W !2021-01-11 18:12:12186B8C536-5438-11EB-8790-788383FEA0E1U!93319W !0W!!0W@8U!0W8U!1W !650x839W?!0W8U!0WP8U!5.00W!2023-03-12 04:35:56!!2023-03-12 04:37:21U!14756985W8U!6710818W !0000-00-00 00:00:00!!0000-00-00 00:00:00UQ17UQSwing Low, Sweet Chariot for Trombone, Euphonium, Baritone & Keyboard!624[@u7U!3W!2Wd7U!2014-08-06 18:33:47U!2022-06-25 08:28:25U!trad.8X88U!Keith Terrett8U!0W8U10W0!sibW7U!250WH7U!0W7UaSwing Low, Sweet Chariot for C Trombone & Keyboard pro - version (2014).sib!2014-08-06 18:33:47!0W!3055W!0W!1.99X8U!2014-08-06 18:33:52U!1WX8U!0W8U!105684W8U!1X8U!0W8U11W8U0!2XX4U!18X !0W@!WW`1WW 7Urofit0!169523W!4.99W027U10W27U0QFrankie & Johnny for Brass Quintet (Jazz for 5 brass series)arComposit!9W!0W!3W!2W!2022-06-20 08:40:39!2024-01-20 05:02:251Traditional Arranged by Keith Terrett!Keith Terrett17U!0WH27U!0W !sibW!250W!0WAFrankie & Johnny for Brass Quintet & opt. Drumset.sibd!2022-06-20 08:40:39!4W!2509W!4W!1.99XX47U!2022-06-20 08:40:42U!1W37U!0W37U!0W47U!0X37U!0W027U11W@47U0!3(^}7Uq"Frankie and Johnny" arranged for Brass Quintet, (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. The song was inspired by one or more actual murders. One of these took place in an apartment building located at 212 Targee Street in St. Louis, Missouri, at 2:00 on the morning of October 15, 1899. Frankie Baker (1876 – 1952), a 22-year-old woman, shot her 17-year-old lover Allen (also known as "Albert") Britt in the abdomen. Britt had just returned from a cakewalk at a local dance hall, where he and another woman, Nelly Bly (also known as "Alice Pryor"), had won a prize in a slow-dancing contest. Britt died of his wounds four days later at the City Hospital. On trial, Baker claimed that Britt had attacked her with a knife and that she acted in self-defense; she was acquitted and died in a Portland, Oregon mental institution in 1952. In 1899, popular St Louis balladeer Bill Dooley composed "Frankie Killed Allen" shortly after the Baker murder case. The first published version of the music to "Frankie and Johnny" appeared in 1904, credited to and copyrighted by Hughie Cannon, the composer of "Won’t You Come Home Bill Bailey"; the piece, a variant version of whose melody is sung today, was titled "He Done Me Wrong" and subtitled "Death of Bill Bailey." The song has also been linked to Frances "Frankie" Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Unlike Frankie Baker, Silver was executed. For more of my original music, great arrangements and all the national anthems of the world, check on-line store U!1]@7U!0W!WW!WW!0W!WWaCopyright © 2015 Keith Terrett - All Rights Reserved keithterrett@gmail.comadef!WW!YYX47U!2433W!1Wx8U!3W!9.98W47U!4.99Wx8U!9.98W027U!4.99Ww8U!0W47U!WW 37U!0.00W37U["168883","177453","124471","158826","167987","168745","9498","132953","169035","9337","169799","169183","158819","155068","85082","204774","176778","173750","156988"]"Frankie and Johnny" arranged for Brass Quintet, (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. The song was inspired by one or more actual murders. One of these took place in an apartment building located at 212 Targee Street in St. Louis, Missouri, at 2:00 on the morning of October 15, 1899. Frankie Baker (1876 – 1952), a 22-year-old woman, shot her 17-year-old lover Allen (also known as "Albert") Britt in the abdomen. Britt had just returned from a cakewalk at a local dance hall, where he and another woman, Nelly Bly (also known as "Alice Pryor"), had won a prize in a slow-dancing contest. Britt died of his wounds four days later at the City Hospital. On trial, Baker claimed that Britt had attacked her with a knife and that she acted in self-defense; she was acquitted and died in a Portland, Oregon mental institution in 1952. In 1899, popular St Louis balladeer Bill Dooley composed "Frankie Killed Allen" shortly after the Baker murder case. The first published version of the music to "Frankie and Johnny" appeared in 1904, credited to and copyrighted by Hughie Cannon, the composer of "Won’t You Come Home Bill Bailey"; the piece, a variant version of whose melody is sung today, was titled "He Done Me Wrong" and subtitled "Death of Bill Bailey." The song has also been linked to Frances "Frankie" Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Unlike Frankie Baker, Silver was executed. For more of my original music, great arrangements and all the national anthems of the world, check out my two on-line store http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keithterrett ErrorCou!0\p7U!WW!0.0000W!2022-06-20 08:48:02QFrankie Johnny for Brass Quintet Jazz for 5 brass seriespConversionSta!0W!0W!12W!0000-00-00 00:00:00!0W!0W!0\7U!0W!0W!0W!2017-03-31 17:01:40A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":199,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"59F9A6A4-162B-11E7-B469-CF071233AFA4","position-x-pc":"0"}[!0W!275W!183Wxw8U}8Up|8U37Uw8U 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Cal!3Wodists, !4.00Wies of t!0W 85U7U)6U7U885U 7U85U 7U85U 7Up,5U 7Ux85U( 7U 7UH85U@ 7U85UX 7U7U4Up 7U2U 7U7UX2U 7U85U 7UX 85U 7UH!85U 7U"85U7U3U7UH%85U07UP"7U&85UH7U(6U`7U&85Ux7UhG85U7U8<25U7U"7U 6U7UZ85U7UP6U7U5U7UA6U 7U)_2U87U54UP7U_85Uh7U_85U7U`7U`85U7U"7Uc`7U7Uf`7U7U25U7U25U7U25U7U#7U c2U(7U"c2U@7U(g85UX7Ug85Up7UW4U7UXf85U7Ue85U7U "7Uc85U7UȾ7UOm2U7U!7U m2U7U87UX~`2U7U#7U`2U07UHb85UH7U7U&_2U`7UhAT2Ux7U8DT2U7U>T2U7U7U7U7U4U7U"7UH5U7U(7U(t85U7Up85U 7U 7Uj6U87U885UP7UI85Uh7Up7U85U7Uxa85Ur7U85U7U6U(7U7UH4U3UX2U83Uh4U 3U7U6U7U6U7UX7Uh_2UPz7U85U7U885U7U85Uhz7U#7U^i2Uz7UΌ2Uz7Un4U7U2U7U7U2U7Uh7U5U7U6Up7U4U7U7U5U7Uh7Ux6o3U7U7U7U(b2U7U+_2U 7U,_2U87Uh/_2UP7U6Uh7U7UX:5U7Ux4U7Uh5o3U7Uh2U7U/_2U7U 4U7Uh7U16U7U7U46U(7U=4U@7U45UX7UH1_2Up7U85U7U85U7UXDe3U7U87U7U؝2U7UX85U7U85U7U)6U07U885UH7U85U`7U85Ux7Up,5U7Ux85U7UX7UH85U7U85U7U87U4U7U2U7U7UX2U 7U85U87UX 85UP7UH!85Uh7U"85U7U3U7UH%85U7U7U&85U7U(6U7U&85U7UhG85U7U8<25U(7U7U 6U@7UZ85UX7UP6Up7U5U7UA6U7U)_2U7U54U7U_85U7U_85U7U7U`85U7U7Uc`7U07Uf`7UH7U25U`7U25Ux7U25U7U7U c2U7U"c2U7U(g85U7Ug85U7UW4U7UXf85U 7Ue85U87UX7Uc85UP7U7UOm2Uh7U(7U m2U7Up7UX~`2U7UH7U`2U7UHb85U7U(7U&_2U7UhAT2U7U8DT2U7U>T2U(7U7U7U@7U4UX7U7UH5Up7U`7U(t85U7Up85Ux7UX7Uj6U7U7UqAn arrangement of Cwm Rhondda for Brass Quintet. Cwm Rhondda, taken from the Welsh name for the Rhondda Valley, is a popular hymn tune written by John Hughes (1873–1932). It is usually used in English as a setting for William Williams’s text Guide Me, O Thou Great Jehovah (or, in some traditions, Guide Me, O Thou Great Redeemer),[1] originally Arglwydd, arwain trwy’r anialwch in Welsh. On account of a line in this English translation, the tune (and hymn) is often called Bread of Heaven. In Welsh the tune is most commonly used as a setting for a hymn by Ann Griffiths, Wele’n sefyll rhwng y myrtwydd. John Hughes (22 November 1873 – 14 May 1932) was born in Dowlais and brought up in Llanilltud Faerdref (in English: Llantwit Fardre). At age 12 he began work in Glynn Colliery in his home town and subsequently became a clerk at the Great Western Colliery Pontypridd where he worked for over 40 years. He served as a deacon and leader of the congregational singing in Salem Baptist Chapel Llanilltud Faerdref.[2][3] The first version of the tune, called "Rhondda" was written in 1905 for the Cymanfa Ganu (hymn festival) in Pontypridd, when the enthusiasm of the 1904–1905 Welsh Revival still remained.[4] The present form was developed for the inauguration of the organ at Capel Rhondda, in Hopkinstown in the Rhondda valley, in 1907.[5] Hughes himself played the organ at this performance, using the English translation of William Williams’s words because of the large number of English-speaking industrial workers who had immigrated to the area.[6] A number of his other compositions were popular during his lifetime, but have not lasted. The name was changed from "Rhondda" to "Cwm Rhondda" by Harry Evans, of Dowlais, to avoid confusion with another tune by M O Jones. The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant-seventh chord—emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has now become firmly established. History[edit] William Williams Pantycelyn (named, in the Welsh style, ’Pantycelyn’ after the farm which his wife inherited) is generally acknowledged as the greatest Welsh hymnwriter.[9] The Welsh original of this hymn was first published as Hymn 10 in Mor o Wydr (Sea of Glass) in 1762. It comprised six verses.[10] (References to a five verse version in Pantycelyn’s Alleluia of 1745[11] appear to be incorrect.) It was originally titled Gweddi am Nerth i fyned trwy anialwch y Byd (Prayer for strength for the journey through the world’s wilderness). Peter Williams (1722-1796, no relation of the author but well known for his popular edition of the Welsh Bible, with notes.[12][13]) translated part of the hymn into the English version given above, with the title Prayer for Strength. It was published in Hymns on various subjects, 1771. This translation is the only Welsh hymn to have gained widespread circulation in the English-speaking world.[14] The present-day Welsh version, given above, is essentially a redaction of the original to parallel Peter Williams’s English version. A result of the translation process is that the defining phrase Bread of heaven does not actually occur in the original (where the Welsh would be Bara nefoedd; it is a paraphrase of the references to manna. The Welsh word Arglwydd corresponds more-or-less to the English Lord, in all its senses. It is used in the Old Testament to represent the Divine Name (the tetragrammaton) and in the New as the standard honorific for Jesus Christ. Accordingly Peter Williams translated it as Jehovah in accord with the practice of his time. Many English-language hymnals today translate it as Redeemer. The following version of the original is taken from Gwaith Pantycelyn (The Works of Pantycelyn). All but the second verse is given, with minor variations, in the Welsh Hymnbook of the Calvinist and Wesleyan Methodists, published by the assemblies of the two churches. 27171390124Cwm Rhondda for Brass Quartet-Quintet John Hughes (1873-1932) Arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement of Cwm Rhondda for Brass Quintet. Cwm Rhondda, taken from the Welsh name for the Rhondda Valley, is a popular hymn tune written by John Hughes (1873–1932). It is usually used in English as a setting for William Williams’s text Guide Me, O Thou Great Jehovah (or, in some traditions, Guide Me, O Thou Great Redeemer),[1] originally Arglwydd, arwain trwy’r anialwch in Welsh. On account of a line in this English translation, the tune (and hymn) is often called Bread of Heaven. In Welsh the tune is most commonly used as a setting for a hymn by Ann Griffiths, Wele’n sefyll rhwng y myrtwydd. John Hughes (22 November 1873 – 14 May 1932) was born in Dowlais and brought up in Llanilltud Faerdref (in English: Llantwit Fardre). At age 12 he began work in Glynn Colliery in his home town and subsequently became a clerk at the Great Western Colliery Pontypridd where he worked for over 40 years. He served as a deacon and leader of the congregational singing in Salem Baptist Chapel Llanilltud Faerdref.[2][3] The first version of the tune, called "Rhondda" was written in 1905 for the Cymanfa Ganu (hymn festival) in Pontypridd, when the enthusiasm of the 1904–1905 Welsh Revival still remained.[4] The present form was developed for the inauguration of the organ at Capel Rhondda, in Hopkinstown in the Rhondda valley, in 1907.[5] Hughes himself played the organ at this performance, using the English translation of William Williams’s words because of the large number of English-speaking industrial workers who had immigrated to the area.[6] A number of his other compositions were popular during his lifetime, but have not lasted. The name was changed from "Rhondda" to "Cwm Rhondda" by Harry Evans, of Dowlais, to avoid confusion with another tune by M O Jones. The hymn is usually pitched in A-flat major and has the 8.7.8.7.4.7 measure which is common in Welsh hymns. The third line repeats the first and the fourth line develops the second. The fifth line normally involves a repeat of the four-syllable text and the sixth reaches a climax on a dominant-seventh chord—emphasised by a rising arpeggio in the alto and bass parts. The final line continues the musical development of the second and fourth (and generally carries a repeat of the text of the sixth). On account of these vigorous characteristics, the tune was resisted for some time in both Welsh and English collections but has now become firmly established. History[edit] William Williams Pantycelyn (named, in the Welsh style, ’Pantycelyn’ after the farm which his wife inherited) is generally acknowledged as the greatest Welsh hymnwriter.[9] The Welsh original of this hymn was first published as Hymn 10 in Mor o Wydr (Sea of Glass) in 1762. It comprised six verses.[10] (References to a five verse version in Pantycelyn’s Alleluia of 1745[11] appear to be incorrect.) It was originally titled Gweddi am Nerth i fyned trwy anialwch y Byd (Prayer for strength for the journey through the world’s wilderness). Peter Williams (1722-1796, no relation of the author but well known for his popular edition of the Welsh Bible, with notes.[12][13]) translated part of the hymn into the English version given above, with the title Prayer for Strength. It was published in Hymns on various subjects, 1771. This translation is the only Welsh hymn to have gained widespread circulation in the English-speaking world.[14] The present-day Welsh version, given above, is essentially a redaction of the original to parallel Peter Williams’s English version. A result of the translation process is that the defining phrase Bread of heaven does not actually occur in the original (where the Welsh would be Bara nefoedd; it is a paraphrase of the references to manna. The Welsh word Arglwydd corresponds more-or-less to the English Lord, in all its senses. It is used in the Old Testament to represent the Divine Name (the tetragrammaton) and in the New as the standard honorific for Jesus Christ. Accordingly Peter Williams translated it as Jehovah in accord with the practice of his time. Many English-language hymnals today translate it as Redeemer. The following version of the original is taken from Gwaith Pantycelyn (The Works of Pantycelyn). All but the second verse is given, with minor variations, in the Welsh Hymnbook of the Calvinist and Wesleyan Methodists, published by the assemblies of the two churches. 7U7U 7UP7U"7UDpk7U "7UDk7U0"7UD|7U@"7UD|7UP"7UD|7U7UX7U8UD8U_85UZ85U8UD8U8UD 8U8UD@8UЌ8UD`8U0_7U ~7U7U27U7Up7U @A7UI7UDr8U >8UD8U07U=8UD8Up 8U048U(JX8UPC8U^3U 88U=8UD8U0>8UD8U=8UD@8U>8UD`8U_7U  58U7UD`7U`#7UDЀ7Up#7UD 7U#7UD@7U#7UD`7U#7UD7U#7UD7U#7UD7U#7UDp7U#7UD7U#7UD7U$7UD7U$7UDЂ7U $7UDv7U0$7UD v7U@$7UD@v7UP$7UD7U`$7UD7Up$7UD 7U$7UD@7U$7UDpw7U$7UD V7U$7UDw7U$7UDw7U$7UDw7U$7UDw7U$7UDx7U%7UD0x7U%7UDPx7U %7UDpx7U0%7UD x7U@%7UDx7UP%7UD{7U`%7UD0{7Up%7UDP{7U%7UDp{7U%7UD{7U%7UD @^7U%7UD{7U%7UD`v7U%7UDv7U%7UDv7U%7UDv7U&7UD@w7U&7UDd7U &7UD d7Up85U0&7UDpd7U@&7UDd7UP&7UDd7U`&7UDd7Up&7UDd7U&7UDe7U6U&7UD 0e7U&7UDm7U&7UDm7U&7UDn7U&7UD n7U&7UD@n7U&7UD`n7U'7UD0q7U'7UDPq7U '7UDpq7U0'7UDy7U@'7UD y7UP'7UD@y7U`'7UD`y7Up'7UDy7U'7UDy7U'7UDy7U'7UDy7U'7UDz7U'7UD z7U'7U'7U'7U(7U(7U (7UD@z7U0(7UD`z7U@(7UDz7UP(7UDq7U`(7UD@r7Up(7UD`r7U(7UDr7U(7UDr7U(7UDr7U`7U7U8UD8U_85UZ85U8UD7U8UD7U8UD7U 8UD 7Up_7U t7U 7U2P7U7U;6UO7UD`8UpD8UD57U7UC8UDO7U@ 8UP8U&8U`>8UD@8U0D8UD d7UD8UD57U@D8UD@d7UPD8UD@57U_7U  P7U`7UDy7U)7UDy7U)7UD@z7U)7UD`z7U)7UDz7U)7UDz7U*7UDz7U*7UDz7U *7UD{7U0*7UD{7U@*7UD{7UP*7UD{7U`*7UD0|7U98UDP|7U98UDp|7U 98UD|7U098UD{7U@98UD0{7UP98UDP{7U`98UDp{7Up98UD}7U98UD }7U98UDy7U98UDy7U98UDP7U98UDp7U98UD7U98UD7U4-23 20:`8UP8U`L7UD038UpL7UDP38UL7UD08UL7UD18UL7UD 18UL7UD@18UL7UD`18UL7UD 8UL7UD18UL7UD18UM7UD18UM7UDp38U M7UD38U0M7UD38U@M7UD38UPM7UD38Up85U`M7UDP48UpM7UDp48UM7UD48UM7UD48UM7UD48UM7UD8U6UM7UD 8UM7UD8UM7UD8UM7UD8UN7UD8UN7UD 8U N7UD@8U0N7UD8U@N7UD8UPN7UD8U`N7UD8UpN7UD08UN7UDP8UN7UDp8UN7UD8UN7UD8UN7UDЧ8UN7UD8UN7UD8UN7UD08UO7UO7U O7U0O7U@O7UPO7UDP8U`O7UDp8UpO7UD8UO7UD8UO7UD8UO7UD8UO7UD8UO7UD8UO7UD@8U8U8U@8UDF8U_85UZ85UH8UD8UH8UD8UI8UD8UI8UD 8Up`7U 8U7U28Uh8U8U)8UD@a8U 8UD8U(8U8UD+8U08UD<8U`8UD<8U38UDp48U8U08UD8U8UD@8U8UD`8U`7U  8U(7UDD7UP7UD E7UP7UDE7UQ7UDE7UQ7UDE7U Q7UDE7U0Q7UDF7U@Q7UD F7UPQ7UDF7U`Q7UDF7UpQ7UDG7UQ7UD0G7UQ7UD`G7UQ7UDG7UQ7UDG7UQ7UDG7UQ7UD@F7UQ7UD`F7UQ7UDF7UR7UDF7UR7UDG7U R7UD8U0R7UD`8U@R7UD8UPR7UD8U`R7UD8UpR7UD8UR7UD8UR7UD 8UR7UD@8UR7UD`8UR7UD8UR7UDH7UR7UD H7UR7UD@H7US7UD`H7US7UD8U S7UD 8U0S7UD8U@S7UD8UPS7UD8U`S7UD8UpS7UD 8US7UD8US7UD8US7UDD7Up85US7UD8US7UD8US7UD 8US7UD@8US7UD`8U8UD8U6U 8UD8U08UDp8U@8UD8UP8UD8U`8UD8Up8UD8U8UD8U8UDP8U8UDp8U8UD8U8UD 8U8UD@8U8UD`8U8UD8U8UD8U8UD8U 8UD8U08U@8UD8UP8UD8U`8UD8Up8UD8U8U8U8U8UD 8U8UD@8U8UD`8U8UD8U8UD08U8UDP8U8UDp8U 8UD8UdefScor!3[P8U!2W 7U!2019-12-31 06:33:24U!2021-09-16 06:54:47U!Niescier Sakałoŭski !Keith Terrett8U!1944W8U12013W0!sibWp{7U!250W7U!0W7U!2023-05-28 07:02:45U!0W`7U!2401W7U!0W7U!1.50X!8U!2023-05-28 07:03:05U!1W 8U!0WH 8U!0W8!8U!0X8U!0W8U11W 8U0!1X8U!3.00X78U!0W4U!1W4U!0W4U!WW4U!WW4U!0W (b2U88U+_2U88U,_2U88Uh/_2U88U6U88U@8UX:5U98Ux4U 98Uh5o3U898Uh2UP98U/_2Uh98U 4U98U8U16U98U8U46U98U=4U98U45U98UH1_2U98U85U:8U85U(:8UXDe3U@:8U87UX:8U؝2Up:8UX85U:8U85U:8U)6U:8U885U:8U85U:8U85U;8Up,5U;8Ux85U0;8U8UH85UH;8U85U`;8Up8U4Ux;8U2U;8U8UX2U;8U85U;8UX 85U;8UH!85U;8U"85U<8U3U <8UH%85U8<8U8U&85UP<8U(6Uh<8U&85U<8UhG85U<8U8<25U<8U 8U 6U<8UZ85U<8UP6U<8U5U=8UA6U(=8U)_2U@=8U54UX=8U_85Up=8U_85U=8U8U`85U=8U8Uc`7U=8Uf`7U=8U25U=8U25U>8U25U>8U8U c2U0>8U"c2UH>8U(g85U`>8Ug85Ux>8UW4U>8UXf85U>8Ue85U>8U8Uc85U>8U88UOm2U>8U`8U m2U?8U8UX~`2U ?8U8U`2U8?8UHb85UP?8U`8U&_2Uh?8UhAT2U?8U8DT2U?8U>T2U?8UH8U7U?8U4U?8UP8UH5U?8U8U(t85U@8Up85U(@8U8Uj6U@@8U885UX@8UI85Up@8U8U85U@8Uxa85U8U85U`3U6U8U8UH4UH3UX2Ux3Uh4UP8UX8U6U8U6U8U8Uh_2U7U85U 8U885U8U85U7U@8U^i2U7UΌ2U 7Un4Uf7U2Uf7U`8U2Uf7U8U5Up78U6UxA8U4UB8U 8U5UA8U#8Ux6o3UB8UD7U8U(b2UC8U+_2U(C8U,_2U@C8Uh/_2UXC8U6UpC8Uh8UX:5UC8Ux4UC8Uh5o3UC8Uh2UC8U/_2UC8U 4UD8U 8U16UD8U $8U46U0D8U=4UHD8U45U`D8UH1_2UxD8U85UD8U85UD8UXDe3UD8U87UD8U؝2UD8UX85UE8U85U E8U)6U8E8U885UPE8U85UhE8U85UE8Up,5UE8Ux85UE8U!8UH85UE8U85Ux8U 8U4U8U2U8U@"8UX2U8U85U8UX 85U8UH!85U8U"85U 8U3U88UH%85UP8U8U&85Uh8U(6U8U&85U8UhG85U8U8<25U8UX8U 6U8UZ85U8UP6U8U5U(8UA6U@8U)_2UX8U54Up8U_85U8U_85U8U$8U`85U8U(8Uc`7U8Uf`7U8U25U8U25U8U25U08UH 8U c2UH8U000An arrangement of the spiritual ’Swing Low Sweet Chariot’, for Pro players of Trombone, Euphonium, Baritone and Keyboard. Swing Low, Sweet Chariot" was first written by Wallis Willis, a Choctaw freedman in the old Indian Territory, sometime before 1862. He was inspired by the Red River, which reminded him of the Jordan River and of the Prophet Elijah’s being taken to heaven by a chariot. Many sources (see Songs of the underground railroad) claim that this song and "Steal Away"—also composed by Willis—had lyrics that referred to the Underground Railroad, the resistance movement that helped slaves escape from the South to the North and Canada. Alexander Reid, a minister at a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Nashville, Tennessee. The Jubilee Singers popularized the songs during a tour of the United States and Europe. The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists. Perhaps the most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival. 8U!0h\0)8U!WWaCopyright © 2010 www.musicforalloccasions.org.uk(keithterrett@gmail.com)8U *8U!WW["169625","169060","204715","204714","519275","474684","504494","517319","485451","77043","61680","169572","169054","8379","58091","29522","361716","169148","55533"]!2020-09-08 21:56:56!1W 8U!2019-09-25 12:45:20U1F3AF7646-DF89-11E9-AFAE-788U8U!4636WX8U!0W8U!0W!0W8U!1W1650x840W8U8U0!0[,8U{ "GroupOrd" : "60", "StoreGroupOrd" : "60", "StoreGroupID" : "3050", "GroupID" : "22219" } ,8U,8U!0.0000WScores!2014-08-06 18:36:54 QSwing Low Sweet Chariot for Trombone Euphonium Baritone Keyboard8U!0WeExchang!0WtingTit!3W8.8U!2013-04-13 12:24:31U!0W.8U!0WeExchang!0YNetwork!0W@!32W.8U!27W.8U!2017-03-31 11:46:26Scor!2022-06-25 08:28:25enH!2017-06-11 15:06:09U!WW,/8U!986463WT/8U!1WeExchang!3WrIDPubl!7.98W08U!3.99W/8U!7.98W/8U!3.99WeExchang!0WEPSCoun!WWx8U!0.00W !0[008U!2022-07-26 08:02:08!0W!1985W!0W!1.50XC7U!2022-07-26 08:02:09U!1W(C7U!0WB7U!0WC7U!0XPB7U!0WxA7U11WC7U0!2006Z8U!1Wp8U!5.00xZ !0W?!1W8U!0W8U!WW !WW?!0W@8U!WW8U!WW!WW?!08Y8U!WWX8U!0.0000W!2022-07-26 08:04:09?aTrumpet Tune from the Island Princess for Brass Quintet in Bb Low version!0W?!0Wx8U!7W(8U!2013-04-25 01:18:33!10W?0+7U@17U07Ux)7U@+7UH,7Ux,7UP07U.7U07U,7U,7U'7U07U/7Up+7U0/7U8#8U)7U(7U/7U07U/7U.7U807U*7U07UP-7Uh-7U 07U-7U.7U+7U+7U17U-7U/7U(7U *7U@.7U.7U(.7U-7Ux/7U8*7UH/7U+7UP*7Uh*7U,7Uh07U/7U'7UX17U0)7U,7U((7UH)7U*7U-7UX(7U`,7U(7UP'7U)7U`/7U(17U/7U07U.7U*7UX.7U.7U)7Up.7U)7U*7U-7U_98U %( chLP9@*0 8@9@ `h48   <@78   4-04-23 `7UF8U98UDЅ7U:8UD7U:8UD 7U :8UDp7U0:8UD|7U@:8UD|7UP:8UD|7U`:8UD}7Up:8UD0}7U:8UD 7U:8UDP}7U:8UDp}7U:8UD}7U:8UD7U:8UD7U:8UD7U:8UD7U;8UD7Up85U;8UDP7U ;8UDp7U0;8UD7U@;8UD7UP;8UDБ7U`;8UD7U6Up;8UD І8U;8UD7U;8UD07U;8UDP7U;8UDp7U;8UD7U;8UD7U;8UD7U;8UD7U<8UD07U<8UD`7U <8UD7U0<8UD7U@<8UD7UP<8UDІ7U`<8UD7Up<8UD7U<8UD07U<8UDP7U<8UDp7U<8U<8U<8U<8U<8U=8UD7U=8UD7U =8UDЇ7U0=8UD7U@=8UDЎ8UP=8UD8U`=8UD8Up=8UD08U=8UD`8UL8U07U08UD@7U_85UZ85U 8UD8UP8UD8U`8UD8Up8UD 8U_7U `8U7U2M8U7U07U 3U@8UD8U J7UDs8UM8UI7UE8UD`8UP< 8UD8U8UD38UI7UDr8U0J7UDs8UI7UD s8UJ7UD@s8U`7U  ^7U 7UD`57U>8UD57U>8UD 67U>8UD@67U>8UD`67U>8UD67U>8UD67U>8UD67U?8UDp77U?8UD77U ?8UD77U0?8UD57U@?8UD77UP?8UD77U`?8UD87Up?8UD087U?8UD67U?8UD77U?8UD077U?8UDP77U?8UDP87U?8UD I7U?8UD0M7U?8UDPM7U@8UDpM7U@8UDM7U @8UDM7U0@8UDM7U@@8UDM7UP@8UDN7U`@8UD0N7Up@8UDPN7U@8UDp87U@8UD87U@8UD87U@8UD87U@8UD87U@8UD P7U@8UD97U@8UDH7UA8UDH7UA8UDH7U A8UDH7U0A8UDPI7U@A8UDpI7UPA8UD@U7Up85U`A8UDU7UpA8UDU7UA8UDU7UA8UDU7UA8UDV7UA8UD V7U6UA8UD @V7UA8UD`Z7UA8UDZ7UA8UDZ7UB8UDZ7UB8UDZ7U B8UD[7U0B8UD0^7U@B8UDP^7UPB8UDp^7U`B8UDb7UpB8UDb7UB8UDb7UB8UDc7UB8UD c7UB8UD@c7UB8UD`c7UB8UB8UDc7UB8UDc7UC8UC8U C8U0C8U@C8UPC8UDc7U`C8UDc7UpC8UDd7UC8UDpN7UC8UD O7UC8UD@O7UW8U!G.F.Handel77U!Keith Terrett087U!0W@77U10W0!sibW!250W!0WAArrival of the Queen of Sheba for Pro Brass Quintet.sib!2022-04-22 11:07:42!0W!2335W!0W!1.50Xh97U!2022-04-22 11:07:43U!1W87U!0W87U!143732W97Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !28^Y8U1The arrival of the Queen of Sheba comes from Solomon (HWV 67), an oratorio by George Frideric Handel, arranged for Pro Brass Quintet. Its libretto is based on the biblical stories of wise king Solomon and is attributed to Newburgh Hamilton. The music was composed between May 5 and June 13, 1748 and the first performance took place in London on March 17, 1749. Handel's "Arrival of the Queen of Sheba" is one of his many biblical oratorios and was first performed in 1748. Sheba, the powerful Queen and her entourage travels to the Holy Temple in Jerusalem to meet the wise King Solomon. Tradition states that after Solomon correctly answered riddled that she asked, a romance developed. From this encounter Sheba bore Solomon's child, King Menelek, the founder of the Ethiopian empire. reExchang!4.99W!0W!1W!0W!WW!WW!0W!WW!WW!WW!2022-04-22 11:00:00U!0000-00-00 00:00:00!WWP<7U!130438W!1W97U!3Wh<7U!9.99W@77U!5.00W`;7U!9.99W97U!5.00W087U!0W87U!WW<7U!0.00WQ@7U!N8Up8U AAn arrangement for professional brass quintet of Handel's Arrival of the Queen of Sheba. If you would like a particular transposition for trumpet or low brass, let me know your requirements:keithterrett@gmail.com If you require a version of this work (or any other),arranged for an instrumentation not yet in my Sibelius store, drop me an e-mail, and I will arrange it for you. Handel's "Arrival of the Queen of Sheba" is one of his many biblical oratorios and was first performed in 1748. Sheba, the powerful Queen and her entourage travels to the Holy Temple in Jerusalem to meet the wise King Solomon. Tradition states that after Solomon correctly answered riddled that she asked, a romance developed. From this encounter Sheba bore Solomon's child, King Menelek, the founder of the Ethiopian empire. res!1W!0W!1W!0W!0.0000W!2022-04-22 11:09:48!0W!0W!9W!2013-04-13 07:15:24!0W!0WArrival of the Queen of Sheba for Professional Brass Quintet G.F.Handel Keith Terrett Music for all Occasions The arrival of the Queen of Sheba comes from Solomon (HWV 67), an oratorio by George Frideric Handel, arranged for Pro Brass Quintet. Its libretto is based on the biblical stories of wise king Solomon and is attributed to Newburgh Hamilton. The music was composed between May 5 and June 13, 1748 and the first performance took place in London on March 17, 1749. Handel's "Arrival of the Queen of Sheba" is one of his many biblical oratorios and was first performed in 1748. Sheba, the powerful Queen and her entourage travels to the Holy Temple in Jerusalem to meet the wise King Solomon. Tradition states that after Solomon correctly answered riddled that she asked, a romance developed. From this encounter Sheba bore Solomon's child, King Menelek, the founder of the Ethiopian empire. h8U!0W!0W!52W!26W!2017-03-31 12:57:07a{"width":300,"position-y-pc":"26","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[{"y":92,"width":24,"x":87,"center-y":106.5,"height":29,"center-x":99}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":22,"width":30,"x":160,"center-y":37,"height":30,"center-x":175}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":22,"width":31,"x":160,"center-y":37.5,"height":31,"center-x":175.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":23,"width":29,"x":161,"center-y":37.5,"height":29,"center-x":175.5}]},"height":207,"position-x-combined":"52%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":156.25,"average-center-y":54.625,"id":"30752852-1609-11E7-AB1D-FD3D9E66F771","position-x-pc":"52"}Exchang!4W!270W!187W:7U@7U?7U87U:7U;7U;7U?7UX=7UP?7U;7UH;7U77U@7U8?7U:7Ux>7U#8U`87U77UH>7U?7U?7U>7U?7U97U@@7U<7U<7Uh?7U@=7U>7U;7UX:7UX@7U<7U>7U87Uh97U=7U=7Up=7UP<7U>7U97U>7U;7U97U97U<7U?7U ?7U@77U@7Ux87U`;7Up77U87U97U=7U77U;7U087U67U87U>7Up@7U>7U(@7U0>7U:7U=7U=7UH87U=7U 97UP97U<7ULq8U["55027","60755","30694","60774","49716","99185","67329","60773","144018","85276","29134","130391","517992","27632","27033","39451","36144","74289","33703","144578"]!2020-08-30 06:44:43!1W!2019-09-25 12:55:2515C3AC08E-DF8B-11E9-8692-78ErrorCou!22545W!0W!0W!0W!1WQualityS!650x840WQs8U!0W{s8U!0WScores!5.00W !2023-04-29 14:27:48d!2023-04-29 14:28:18U!3049563Wt8U!4147108WScores!0000-00-00 00:00:00!0000-00-00 00:00:00ormaQTrumpet Tune from the Island Princess for Brass Quintet (lower)).sibaTrumpet Tune from the Island Princess for Brass Quintet in Bb (Low version)U07U!9Wd7U!0Wh7U!3W7U!2W@7U!2022-07-26 08:02:08U!2022-07-26 16:35:26UAJeremiah Clarke(c.1674-1707)Arr:Keith TerretthB7U!Keith TerrettxA7U11700W0!sib3U !871W@!0W`1WWIDeU8U0X 85UG8UH!85UG8U"85UH8U3U(H8UH%85U@H8UH27U&85UXH8U(6UpH8U&85UH8UhG85UH8U8<25UH8U27U 6UH8UZ85UH8UP6UI8U5UI8UA6U0I8U)_2UHI8U54U`I8U_85UxI8U_85UI8Ux8U`85UI8Ux27Uc`7UI8Uf`7UI8U25UI8U25UJ8U25U J8U37U c2U8J8U"c2UPJ8U(g85UhJ8Ug85UJ8UW4UJ8UXf85UJ8Ue85UJ8U27Uc85UJ8U`w8UOm2UJ8U17U m2UK8Uv8UX~`2U(K8U37U`2U@K8UHb85UXK8U47U&_2UpK8UhAT2UK8U8DT2UK8U>T2UK8Upy8U7UK8U4UK8U27UH5UL8Uw8U(t85UL8Up85U0L8Uy8Uj6UHL8U885U`L8UI85UxL8Ux8U85UL8Uxa85U`7U85U7U6UX7Ux8UH4U3UX2U3Uh4U3Ux8U6U7U6U7Uz8Uh_2U07U85U(7U885U7U85UH7U37U^i2U`7UΌ2Ux7Un4Uh#7U2U#7U|8U2U#7U`}8U5UM8UYL8U(8U8U6UM8Uw8U5U7U8Ux6o3UN8U4UO8U(b2UO8U+_2U0O8U,_2UHO8Uh/_2U`O8U6UxO8U}8UX:5UO8Ux4UO8Uh5o3UO8Uh2UO8U/_2UO8U 4UP8U8U16U P8UH8U46U8P8U=4UPP8U45UhP8UH1_2UP8U85UP8U85UP8UXDe3UP8U87UP8U؝2UP8UX85UQ8U85U(Q8U)6U@Q8U885UXQ8U85UpQ8U85UQ8Up,5UQ8Ux85UQ8U8UH85UQ8U85UQ8U8U4UR8U2UR8Uh8UX2U0R8U85UHR8UX 85U`R8UH!85UxR8U"85UR8U3UR8UH%85UR8U ~8U&85UR8U(6UR8U&85US8UhG85U S8U8<25U8S8U~8U 6UPS8UZ85UhS8UP6US8U5US8UA6US8U)_2US8U54US8U_85US8U_85UT8U08U`85U(T8UP~8Uc`7U@T8Uf`7UXT8U25UpT8U25UT8U25UT8Up8U c2UT8U"c2UT8U(g85UT8Ug85UU8UW4UU8UXf85U0U8Ue85UHU8U}8Uc85U`U8U8UOm2UxU8U}8U m2UU8U8UX~`2UU8U~8U`2UU8UHb85UU8U8U&_2UU8UhAT2UV8U8DT2U V8U>T2U8V8U8U7UPV8U4UhV8U~8UH5UV8U8U(t85UV8Up85UV8U8Uj6UV8U885Ux8UI85U8U@8U85U8Uxa85U(3U85U7U6U@3U8UH4U7UX2UX3Uh4U87U8U6Uh7U6U7U(8Uh_2U#7U85U7U8UFrankie & Johnny for Brass Quintet (Jazz for 5 brass series) Traditional Arranged by Keith Terrett Keith Terrett Music for all Occasions "Frankie and Johnny" arranged for Brass Quintet, (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. The song was inspired by one or more actual murders. One of these took place in an apartment building located at 212 Targee Street in St. Louis, Missouri, at 2:00 on the morning of October 15, 1899. Frankie Baker (1876 – 1952), a 22-year-old woman, shot her 17-year-old lover Allen (also known as "Albert") Britt in the abdomen. Britt had just returned from a cakewalk at a local dance hall, where he and another woman, Nelly Bly (also known as "Alice Pryor"), had won a prize in a slow-dancing contest. Britt died of his wounds four days later at the City Hospital. On trial, Baker claimed that Britt had attacked her with a knife and that she acted in self-defense; she was acquitted and died in a Portland, Oregon mental institution in 1952. In 1899, popular St Louis balladeer Bill Dooley composed "Frankie Killed Allen" shortly after the Baker murder case. The first published version of the music to "Frankie and Johnny" appeared in 1904, credited to and copyrighted by Hughie Cannon, the composer of "Won’t You Come Home Bill Bailey"; the piece, a variant version of whose melody is sung today, was titled "He Done Me Wrong" and subtitled "Death of Bill Bailey." The song has also been linked to Frances "Frankie" Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Unlike Frankie Baker, Silver was executed. For more of my original music, great arrangements and all the national anthems of the world, check on-line store 0:40:43.01!2020-09-14 06:48:09U!1W!2019-09-25 13:31:00154B266A0-DF90-11E9-B6D0-78SE::Scor!7757W!0W!0W!1W!0W!1W!650x502W!0W!0W!5.00W!2023-04-06 06:55:27!2023-04-06 06:56:14!2757488W!3550921W!0000-00-00 00:00:00!0000-00-00 00:00:00F8UP8UC8UD`O7UC8UDO7UC8UDO7U8UhM8U8UD@8U_85UZ85U8UD8U8UD8UЂ8UD8U8UD 8U_7U T7U7U28UN8U8U8UD`+8UpP7UD`8U8UP7U8UD038U@8UDp38U8UD38UO7UD8UP7UD8U@P7UD8UPP7UD 8UP`7U  m8Up7UD+7UD8UD,7UD8UDP,7UE8UDp,7UE8UD,7U E8UD,7U0E8UD,7U@E8UD,7UPE8UDW8U`E8UDW8UpE8UDW8UE8UDW8UE8UD X8UE8UD@X8UE8UD`X8UE8UDX8UE8UDV8UE8UDW8UE8UD0W8UF8UDPW8UF8UDY8U F8UDY8U0F8UD]8U@F8UD ]8UPF8UD@]8U`F8UD`]8UpF8UD]8UF8UD]8UF8UD]8UF8UD]8UF8UD^8UF8UD ^8U0F7UDX8U@F7UDX8UPF7UDX8U`F7UDY8UpF7UD Y8UF7UDP`8UF7UDc8UF7UDc8UF7UDc8UF7UDc8UF7UD@Y8UF7UDd8UF7UD0d8UG7UD+7Up85UG7UDPd8U G7UDpd8U0G7UDd8U@G7UDd8UPG7UDd8U`G7UDd8U6UpG7UDe8UG7UDh8UG7UDh8UG7UDh8UG7UDi8UG7UD0i8UG7UDPi8UG7UDl8UG7UDl8UH7UDl8UH7UD@^8U H7UD`^8U0H7UD^8U@H7UD^8UPH7UD^8U`H7UD^8UpH7UD_8UH7UD _8UH7UD@_8UH7UD`_8UH7UH7UH7UH7UH7UI7UD_8UI7UD_8U I7UD_8U0I7UD q8U@I7UDq8UPI7UDq8U`I7UDr8UpI7UD0r8UI7UD`r8U08U8U8UD@8U_85UZ85U8UDF8U8UDpF8U 8UDF8U08UDF8U0`7U _8U@7U2 8U8UP#8UDP8U8UD8U8U`8UD08U8UD038U8UDp38U 8UD<8UP8UD8U8UD08U8UD8U8UD8U`7U  8US7UD@7UJ7UDt8UJ7UDt8UJ7UDu8UJ7UD0u8UJ7UDPu8UJ7UDpu8UJ7UDu8UK7UD`7UK7UD7U K7UD@08U0K7UD@t8U@K7UD`08UPK7UD08U`K7UD08UpK7UD08UK7UDu8UK7UDu8UK7UDv8UK7UD18UK7UD28UK7UD 8UK7UD028UK7UDP28UL7UDp28UL7UD28U L7UD28U0L7UD28U@L7UD28UPL7UD38U2.653863Q0}8UaAn exciting arrangement of this old war horse for amateur level brass ensembles. Jeremiah Clarke (c. 1674 – 1 December 1707) was an English baroque composer and organist. Thought to have been born in London around 1674, Clarke was a pupil of John Blow at St Paul’s Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft. Clarke is best remembered for a popular keyboard piece: the Prince of Denmark’s March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes’s Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke’s piece is a popular choice for wedding music, and has featured in royal weddings. The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell’s younger brother)—probably leading to the confusion.8UL8U!2017-06-09 17:10:17U!0000-00-00 00:00:00!WWX8U!150509W!1WC7U!3Wp8U!10.00WxA7U!5.00WE7U!10.00WD7U!5.00WhB7U!0W(C7U!WW8U!0.00WQ8U!?A8Ue::st aAn exciting arrangement of this old war horse for amateur level brass ensembles. Jeremiah Clarke (c. 1674 – 1 December 1707) was an English baroque composer and organist. Thought to have been born in London around 1674, Clarke was a pupil of John Blow at St Paul’s Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft. Clarke is best remembered for a popular keyboard piece: the Prince of Denmark’s March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes’s Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke’s piece is a popular choice for wedding music, and has featured in royal weddings. The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell’s younger brother)—probably leading to the confusion.tsOptionSelli5UX8UA6Up8U)_2U8U54U8U_85U8U_85U8Up8U`85U8UA7Uc`7U8Uf`7U8U25U08U25UH8U25U`8UB7U c2Ux8U"c2U8U(g85U8Ug85U8UW4U8UXf85U8Ue85U8U`A7Uc85U 8UE7UOm2U88U0A7U m2UP8UxD7UX~`2Uh8UPB7U`2U8UHb85U8U0D7U&_2U8UhAT2U8U8DT2U8U>T2U8U8U7U8U4U(8U B7UH5U@8UhE7U(t85UX8Up85Up8U08Uj6U8U885U8UI85U8U8U85U8Uxa85U7U85U8U6U(8U(8UH4U3UX2U3Uh4UА3U8U6U8U6UГ8Uh8Uh_2Up7U85U8U885U8U85U7UC7U^i2U7UΌ2U7Un4U7U2U7U8U2U7UD7U5U8U6U8U4U@8U8U5U8Ux8Ux6o3U(8Ux57U 68U(b2UX8U+_2Up8U,_2U8Uh/_2U8U6U8U8UX:5U8Ux4U8Uh5o3U 8Uh2U 8U/_2U0 8U 4UH 8Ux8U16U` 8U8U46Ux 8U=4U 8U45U 8UH1_2U 8U85U 8U85U 8UXDe3U 8U87U 8U؝2U8 8UX85UP 8U85Uh 8U)6U 8U885U 8U85U 8U85U 8Up,5U 8Ux85U 8Uh8UH85U 8U85U( 8UH8U4U@ 8U2UX 8U8UX2Up 8U85U 8UX 85U 8UH!85U 8U"85U 8U3U 8UH%85U 8U8U&85U 8U(6U0 8U&85UH 8UhG85U` 8U8<25Ux 8U8U 6U 8UZ85U 8UP6U 8U5U 8UA6U 8U)_2U 8U54U 8U_85U8 8U_85UP 8U8U`85Uh 8Uȴ8Uc`7U 8Uf`7U 8U25U 8U25U 8U25U 8U8U c2U 8U"c2U8U(g85U(8Ug85U@8UW4UX8UXf85Up8Ue85U8Uh8Uc85U8U8UOm2U8U88U m2U8U8UX~`2U8UX8U`2U8UHb85U8U88U&_2U08UhAT2UH8U8DT2U`8U>T2Ux8U 8U7U8U4U8U(8UH5U8Up8U(t85U8Up85U8Uh8Uj6U8U885U 8UI85U88U8U85U68Uxa85UM8U85U8U6U8U`8UH4U3UX2U03Uh4U3U08U6U88U6UP8U8Uh_2U7U85Ux8U885U 8U85U7U8U^i2U 7UΌ2U87Un4U7U2U7U88U2U7U8U5U88U4Ux88U88U@8UX8U5U78U8Ux6o3U`88U6U68U8U!0h^p8UTrumpet Tune from the Island Princess for Brass Quintet in Bb (Low version) Jeremiah Clarke(c.1674-1707)Arr:Keith Terrett Keith Terrett Music for all Occasions An exciting arrangement of this old war horse for amateur level brass ensembles. Jeremiah Clarke (c. 1674 – 1 December 1707) was an English baroque composer and organist. Thought to have been born in London around 1674, Clarke was a pupil of John Blow at St Paul’s Cathedral. He later became organist at the Chapel Royal. After his death, he was succeeded in that post by William Croft. Clarke is best remembered for a popular keyboard piece: the Prince of Denmark’s March, which is commonly called the Trumpet Voluntary, written about 1700. From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes’s Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded. The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke’s piece is a popular choice for wedding music, and has featured in royal weddings. The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell’s younger brother)—probably leading to the confusion.8U8U!08^8U!0W!0W!0W!2017-03-31 15:18:22A{"width":224,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"EB9E09EC-161C-11E7-8CAD-F816887A4EF7","position-x-pc":"0"} !0W!194W!259W E7U8U8UB7UD7U8UȮ8U8U`8UX8U8UE7UHA7U8U@8UD7U8U#8UB7UB7UP8Uв8U8U8U8UD7UH8U8U8Up8UH8U 8UPE7UD7U`8UЯ8U8U8B7UC7U8Uذ8Ux8UX8Uȱ8UC7U8U8E7UC7UC7U8U8U(8UxA7U8UB7UE7UA7UB7UD7U8UA7U8UhB7U@7U(C7U8Ux8U8U08U88UHD7U8U8UB7U8UXC7UC7U8U ["88308","168223","140556","78183","151528","59699","140617","140520","188994","140618","173346","4062","75247","4413","23092","6032","100330","32625","79411","107764"]!2020-09-19 01:26:28!1W!2019-09-25 13:15:261280B3DB8-DF8E-11E9-8692-788U!8278W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-04-21 17:43:45!2023-04-21 17:44:11!2212235W!2561867W!0000-00-00 00:00:00!0000-00-00 00:00:00 *0 `{8UFHLP JPhpBHEH  {8UPX?@ uxNP  *0 18UY121412!121182W !76298W3U!2017-06-09 17:10:17U10000-00-00 00:00:008U0AWhat Shall We Do With The Drunken Trombone Quartet?U!44W7U!624Wp7U!3WX=7U!2W{7U!2014-05-31 07:44:20U!2022-07-25 16:19:09U!08Xh8U!2W8U!2.00W8U12014-05-31 07:45:020!sibWHY!250W!0WaWhat shall we do with the Drunken Trombone Quartet (Pro Series) Ed. 2014.sib!2014-05-31 07:44:20!4W!3207W!4W1Sea Shanty Arranged by Keith Terrett!Keith Terrett!0W !102308X8U!2018-04-02 15:03:56U!0000-00-00 00:00:00U!WW8U!675421Wض8U!0WX8U!0W8U10.00W8U0QAn arrangement of this popular Welsh song arranged for solo Bb Cornet, Trumpet or Flugelhorn and Piano. A nice little piece for younger players looking for a tasteful solo for a school concert or recital. 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. !2.99W!0W!1W!0W!WW!WW!0W!WW!WW!WW!5.99Y8U!3.00W!1W8U!1W!0Wض8U!WW8U!0.00W8U["409070","109303","26415","121447","37383","115214","129188","494342","58285","409130","37382","173399","99151","107615","182432","40279","37812","25420","61233"]!2020-09-03 17:12:39U!1W8U!2019-09-25 12:44:53U!2274W An arrangement of this popular Welsh song arranged for solo Bb Cornet, Trumpet or Flugelhorn and Piano. A nice little piece for younger players looking for a tasteful solo for a school concert or recital. Suo Gân is a traditional Welsh lullaby written by an anonymous composer. The song’s title simply means lullaby. (suo = lull; cân = song). 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. 8U!1W!0W!1W!0W{ "GroupOrd" : "450", "StoreGroupOrd" : "450", "StoreGroupID" : "3047", "GroupID" : "22222" } 8UdefScor!0.0000W!2018-04-03 15:16:12!0W!0W!2W!2013-04-09 14:41:13!0W!0WSUO-GAN for Cornet, Trumpet, Flugelhorn (Bb Baritone/Euphonium) & Piano trad. Keith Terrett Music for all Occasions An arrangement of this popular Welsh song arranged for solo Bb Cornet, Trumpet or Flugelhorn and Piano. A nice little piece for younger players looking for a tasteful solo for a school concert or recital. 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. p8U!0W!0W!0W!0W!2017-03-31 11:44:01A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":189,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"FA3102E8-15FE-11E7-B048-AB553BBC4703","position-x-pc":"0"}8U8U!0W!128W!81W(8UȽ8U 8U8Uȷ8Uи8U8Uؼ8U8U8U8U8UP8UP8Ux8U8U8U#8U8U8U8U8UH8U@8U8U 8U8Uع8U8U8U8UX8UX8U8U8U8U08U@8U8UȺ8U8U8U8U8U8Uл8U@8Uض8U8UH8U8U`8U8U8U8U8U8Uе8U8UP8U8U8Up8Uس8U08U8U8U8Uh8Up8UP8U8U(8U8U8U`8U8U88U8U1E3DABA50-DF89-11E9-BF25-788UeScores!0W!0W!0W!0W!1W!650x918W!0W!0W!5.00W!2023-05-03 23:31:56!2023-05-03 23:32:11!1150547W!1534813W!0000-00-00 00:00:00!0000-00-00 00:00:00Q(8U188URsv58168!Uncategorised music!28786Wp 8U!1W@3 8U!0W8U!WW?8U!0W=8U!0W~8U10000-00-00 00:00:00Uk>8U0!0000-00-00 00:00:00U!871W 7U!0.00W 7U!JimPatersonH!7U!2W!7U!0X"7U!1Wh"7U!1W An exciting new arrangement for Pro players of Trombone, Baritone or Euphonium(BC), of ’Swing Low, Sweet Chariot’; with Piano or Keyboard accompaniment. This arrangement features a fast middle section, with the opportunity to improvise if desired. Parts in Treble Clef are available on request from:keithterrett@gmail.com Swing Low, Sweet Chariot" is a Negro spiritual. The first recording was by the Fisk Jubilee Singers in 1909. In 2002, the Library of Congress honored the song as one of 50 recordings chosen that year to be added to the National Recording Registry. It was also included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. Fantastic chart for your next recital, concert or performance. "Swing Low, Sweet Chariot" was composed by Wallis Willis, a Choctaw freedman in the old Indian Territory, sometime before 1862. He was inspired by the Red River which reminded him of the Jordan River and of the Prophet Elijah being taken to heaven by a chariot. Alexander Reid, a minister at a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Nashville, Tennessee. The Jubilee Singers then popularized the songs during a tour of the United States and Europe. The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists, 8UQSwing Low, Sweet Chariot for Trombone, Euphonium, Baritone & Keyboard trad. Keith Terrett Music for all Occasions An arrangement of the spiritual ’Swing Low Sweet Chariot’, for Pro players of Trombone, Euphonium, Baritone and Keyboard. Swing Low, Sweet Chariot" was first written by Wallis Willis, a Choctaw freedman in the old Indian Territory, sometime before 1862. He was inspired by the Red River, which reminded him of the Jordan River and of the Prophet Elijah’s being taken to heaven by a chariot. Many sources (see Songs of the underground railroad) claim that this song and "Steal Away"—also composed by Willis—had lyrics that referred to the Underground Railroad, the resistance movement that helped slaves escape from the South to the North and Canada. Alexander Reid, a minister at a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Nashville, Tennessee. The Jubilee Singers popularized the songs during a tour of the United States and Europe. The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists. Perhaps the most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival. or!{"width":250,"position-y-pc":"27","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":46,"width":68,"x":46,"center-y":80,"height":68,"center-x":80}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":45,"width":69,"x":46,"center-y":79.5,"height":69,"center-x":80.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":46,"width":68,"x":47,"center-y":80,"height":68,"center-x":81}]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":80.5,"average-center-y":79.8333333333333,"id":"5078C8CA-15FF-11E7-8AB1-F40A044B69B1","position-x-pc":"32"} 8U 8U!3W!122W!146WP8U8UH8U(8U8U8U(8U8U8U8U@8U8Ux8Ux8U8U 8U8U#8U8U88U8U08Up8Uh8U8UH8U8U8U8U8U8U8U8U8U8U08UX8Uh8U8U8U88U8U8U(8U8U8Uh8U8U8Up8U8U8U8U8U8U8U8U8U08Ux8U8U8U8U8UX8U8U8U@8U8U8Ux8U8UP8U8U 8U8U8U`8U8U!0x^08U!0W!5.00W!2023-05-03 17:05:12!2023-05-03 17:05:39!1488736W!2600851W!0000-00-00 00:00:00!0000-00-00 00:00:0058UP8U8UDP8U8UDp8U8UD8U8UD8U8UD8U8UD p8U8UD8U8UD8U8UD08U8UD08U 8UDP8U08UDp8U@8UD8UP8UD8Up85U`8UD8Up8UD08U8UDP8U8UDp8U8UD8U8UD8U6U8UD И8U8UD8U8UD8U8UD 8U8UD@8U8UD`8U 8UD8U08UD8U@8UD8UP8UD8U`8UD 8Up8UD@8U8UD`8U8UD`8U8UD8U8UD8U8UD8U8UD8UP"8UD8U`"8UD 8Up"8UD@8U"8UD`8U"8UD8U"8UD8U"8UD8U"8UD8U"8UD8U"8UD 8U"8UD 8U#8UD8U#8UD8U #8UD8U0#8UD@8U@#8UD08U8U`A8U8UD<8U_85UZ85U8UDP8U8UD8U 8UD8U08UD8U0a7U 8U7U28UB8U8U 8UDn8Us8UD8U8U08UD08U48UD8U48UD8U48UD08U08UD8U s8UD08Ur8UD8Ur8UD8Ua7U  \8U0(7UDP8UP$8UD8U`$8UD8Up$8UD 8U$8UD@8U$8UD`8U$8UD8U$8UD8U$8UDP8U$8UDp8U$8UD8U$8UD8U%8UD8U%8UD08U %8UDP8U0%8UDp8U@%8UD8UP%8UD8U`%8UD8Up%8UD8U%8UD8U%8UD K8U%8UDM8U%8UDM8U%8UDM8U%8UDN8U%8UD0N8U%8UDPN8U&8UDpN8U&8UDN8U &8UD N8U0&8UD@O8U@&8UD8UP&8UD 8U`&8UDI8Up&8UDJ8U&8UD0J8U&8UD pQ8U&8UD T8U&8UD@T8U&8UD`T8U&8UDT8U&8UDT8U&8UD U8U'8UD@U8U'8UD`U8Up85U '8UDU8U0'8UDU8U@'8UDU8UP'8UDV8U`'8UD V8Up'8UD@V8U6U'8UD `V8U'8UDY8U'8UDY8U'8UDY8U'8UDY8U'8UDZ8U'8UD0Z8U'8UDp\8U(8UD\8U(8UD\8U (8UDp8U0(8UD8U@(8UDPJ8UP(8UDpJ8U`(8UDJ8Up(8UDJ8U(8UDJ8U(8UD`O8U(8UDO8U(8UDO8U(8U(8U(8U(8U)8U)8UDO8U )8UDO8U0)8UDP8U@)8UD P8UP)8UDP8U`)8UDP8Up)8UDQ8U)8UD0Q8U)8UD`8U("8Ux8USM_Group  z8U38MP%(  hp28 (*0 z8U18?@EH .0^` htmmUQP8U!180948U !WW@!1W`!0W11Wle7UW0!92106WuantitySaAnother arrangement of Pachelbel's Kanon, but this one for Brass is the best!!62142WQWhat Shall We Do With The Drunken School Brass Quintet.sib8UAWhat Shall We Do With The Drunken School Brass Quintet?!9Wr7U!0W@7U!2W7U!2WH7U!2022-07-25 16:00:22U!2022-07-25 16:13:03U1Sea Shanty Arr:Keith Terrett8U!Keith Terrett8U!0W8U!0W !sibWpd8U!250W4U!0W4U!2022-07-25 16:00:22U!2W4U!2821W4U!3W48U!2.00X8U!2022-07-25 16:00:24U!1W8U!0W@8U!108991W08U!1(X8U!0Wخ8U!1W8U!0W 1132953WuantityScore1240`8U58U08UD8U68U8U I8UD@8U_85UZ85UO8UD8U@O8UDp8UPO8UD8U`O8UD8U`7U 8U7U278U8U78U/8UD8U#8UDP8U`78Up#8U38UD48U38UDЀ48U38UD 48U`#8UDp8U#8UDp8U#8UD8U#8UD8Ua7U  0 8U(7UDU7U@8UDu7UP8UDV7U`8UDPu7Up8UDpu7U8UDu7U8UDu7U8UDu7U8UDv7U8UDv7U8UDv7U8UDv7U8UD@w7U8UD`w7U8UDw7U 8UDw7U08UDu7U@8UDv7UP8UD0v7U`8UDPv7Up8UDx7U8UD `$8U8UDU7U8UDU7U8UDx7U8UDy7U8UD0y7U8UDPy7U8UD@)8U8UD`)8U8UD )8U 8UD)8U08UDw7U@8UDw7UP8UDx7U`8UD x7Up8UD@x7U8UD `8U8UD`x7U8UDx7U8UDx7U8UD,8U8UD0,8U8UD,8U8UD,8U8UD,8Up85U8UD@-8U 8UD`-8U08UD-8U@8UD-8UP8UD-8U`8UD-8U6Up8UD `8U8UD.8U8UD .8U8UD@.8U8UD`.8U8UD.8U8UD 8U8UD 8U8UD 8U8UD 8U8UD.8U 8UD.8U08UD.8U@8UD/8UP8UD /8U`8UD@/8Up8UD`/8U8UD/8U8UD/8U8UD/8U8U8U8U8U8U8UD/8U8UD08U 8UD 08U08UD*8U@8UD*8UP8UD*8U`8UD*8Up8UD+8U8UD@+8U@8U68UpO8UDа8U_85UZ85U8UD;8U8UD0<8Uб8UDP<8U8UDp<8U`7U @08U`7U2A8UH88U0*3Ux8UDP8U0*8UDb8UA8U)8UDa8U38UD 48U@38UD 48U48UD8U)8U@*8UD b8U*8UDa8U*8UDa8UPa7U   8UP(7UD 7U8UD7U8UD7U8UD7U8UD`8U8UD8U8UD8U8UD8U8UDp8U8UD8U 8UD8U08UD@7U@8UD8UP8UD8U`8UD8Up8UD08U8UD 8U8UD8U8UD 8U8UD@8U8UD`8U8UD 8U8UD8U8UD8U8UD8U8UD8U 8UD8U08UD 8U@8UD@8UP8UD8U`8UD 8Up8UD@8U6F8UQAir on the G String for Brass Band Quartet-Quintet (2014).sib!8W7U!0WX7U!3W7U!3Wp{7U!2014-05-13 19:10:00U!2022-08-18 07:46:47U!08XPC8U!0WC8U!4WB8U11.99W0!sibWpr7U!250W 7U!0W!2014-05-13 19:10:00!2W!2495W!1W!2014-05-13 19:10:05U!1WC8U!0WpD8U!154452W(D8U!88XE8U!238WC8U!211WB8U12022-08-18 07:46:47U0QJohann Sebastian Bach (1685-1750) Edited by Keith Terrett!Keith Terrett !1X8U!0W8U!128353W8U!XXX@8U!357401W08U!1W8U!3W8U110.00W8U0An arrangement for Trombone Quartet of the popular Sea Shanty, ’What Shall We Do With a Drunken Sailor’. Great chart for your next concert! Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor? It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering-or castigating, or simply abusing--the sailor. With this arrangement you can really ham it up, think Monzill Brass! M8U!5.00W!0W!1W!0W!WW!Keith Terrett!1W!WWMFAO © 2008 Music for all Occasions Publications (keithterrett@gmail.com) www.musicforalloccasions.org.uk Edited December 2012otalVie!WW!5.00Y8U!10.00W!5.00W8U!0W!WW08U!0.00W8U["156088","71860","87847","109363","24046","145251","57247","67623","37370","30106","29359","154184","145253","361967","180636","80245","153786","11659","150443"]!2020-09-16 07:42:04!1W8U!2019-09-25 12:51:53UADDE4F9A2-DF8A-11E9-B6D0-788U8U@An arrangement for Trombone Quartet of the popular Sea Shanty, ’What Shall We Do With a Drunken Sailor’. Great chart for your next concert! With this arrangement you can really ham it up, think Monzill Brass! Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor? It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering-or castigating, or simply abusing--the sailor. U]T8U!1W!0W!1W!0W{ "GroupOrd" : "10", "StoreGroupOrd" : "10", "StoreGroupID" : "3022", "GroupID" : "23282" } U8Utour of !0.0000W!2014-05-31 07:51:19AWhat Shall We Do With The Drunken Trombone Quartet!0W!0W!11W!2013-04-13 07:36:42!0W!0W1What Shall We Do With The Drunken Trombone Quartet? Sea Shanty Arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement for Trombone Quartet of the popular Sea Shanty, ’What Shall We Do With a Drunken Sailor’. Great chart for your next concert! Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor? It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering-or castigating, or simply abusing--the sailor. With this arrangement you can really ham it up, think Monzill Brass! Y8U!0W!0W!0W!0W!2017-03-31 12:31:52A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":225,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"A958023E-1605-11E7-B0E3-B00026094892","position-x-pc":"0"}oresReExtrac!0W!400W!300W8U 8Ux8UX8U 8U(8UX8U08U8U8Up8U8U8U8U8UP8U8U#8U8Uh8U8U`8U8U8U8Ux8U8U08UH8U8U8U8U8U8U8U`8U8U8U8U 8Uh8U8U8UX8U8U(8U8U08UH8U8UH8U8U8U88U8U8U8U(8U`8U8U88U@8U8U8U8U@8U8Up8U8U8U8U88U8U8UP8U8U8U8Ua8U!26426x^`8U!0W!0W!0W!1W!650x457W!0W!0W!5.00W!2023-02-14 19:33:47!2023-02-14 19:34:19!1950020W!2872645W!0000-00-00 00:00:00!0000-00-00 00:00:00`8Ub8U@8UD08U_85UZ85U08UDPt8U`8UDt8Up8UDt8U8UDt8Upa7U 8U7U2c8U8Uc8U8UD@8U`y8UDQ8Ud8Ux8U48UDP8U48UD8U@O48UDb48Ux8UDP8Upy8UDQ8U0y8UD@Q8U@y8UD`Q8Ua7U  8U(7UD58U*8UD S7U*8UD`8U*8UD8U*8UD8U*8UD8U*8UD8U+8UD8U+8UD8U +8UDЃ8U0+8UD8U@+8UD`S7UP+8UD8U`+8UD08Up+8UDP8U+8UDp8U+8UD 8U+8UDp8U+8UD8U+8UD8U+8UD8U+8UD 8U+8UD`8U,8UD8U,8UD8U ,8UD8U0,8UD8U@,8UD8UP,8UD 8U`,8UD@8Up,8UD `8U,8UDp8U,8UD8U,8UD8U,8UD 8U,8UD@8U,8UD`8U,8UD 8U,8UD8U-8UD8U-8UDЄ8U -8UD8U0-8UD8U@-8UD08UP-8UDP8U`-8UD8Up85Up-8UD8U-8UD8U-8UD 8U-8UD@8U-8UD`8U-8UD8U6U-8UD 8U-8UDp8U-8UD8U.8UD08U.8UDP8U .8UDp8U0.8UD8U@.8UD 8UP.8UD@8U`.8UD`8Up.8UD8U.8UD8U.8UDл8U.8UD8U.8UD8U.8UD08U.8UDP8U.8U.8UDp8U/8UD8U/8U /8U0/8U@/8UP/8U`/8UD8Up/8UDм8U/8UD8U/8UD8U/8UD@8U/8UD`8U/8UD8U/8UD8U/8UD8U0m8Uc8U8UDu8U_85UZ85Uz8UD 8U {8UD8U0{8UD8U@{8UD8Ua7U 8U7U2 n8Ud8UE8UR8U08UD8U8UDp8Un8U@8UD0o8UPO48UD b48UO48UD`b48UU48UDz58U08UDo8U8UD0p8U8UDo8U8UDo8Ub7U  ;8U'7UD18Us8UD028Us8UDp28Us8UD28Us8UD28Us8UD28Us8UD28Us8UD38Us8UD38Ut8UD38Ut8UD48U t8UD18U0t8UD 48U@t8UD@48UPt8UD`48U`t8UD48Upt8UD038Ut8UD`38Ut8UD38Ut8UD38Ut8UD8Ut8UD 8Ut8UD08Ut8UDP8Ut8UDp8Uu8UD8Uu8UD8U u8UD8U0u8UD8U@u8UD8UPu8UD 08U`u8UD8Upu8UD48Uu8UD48Uter, `z8U78:@ 4848jp68*0  z8U48=@9@ >@EH`h38ux y8UWXр8UQ8U1g:7U8U;71274188U H76298Copyright © 1988s Reserveds Reserved Reservedl.com)13ett@gmail.com) Edited 2019ber 2012ions.org.uk Edited December 2012and possessions, Canada, the UK and other so - called reversionary rights territories and by SONY/ ATV MUSIC PUBLISHING LLC for{7U!9[P8U!0W!3W%7U!2W7U!2019-10-31 14:22:25U!2020-03-20 18:38:34UQMusic by Duke Ellington Lyrics by Bob Russell Arranged Keith Terrett!Keith Terrett( 8U!1942W !sibW8U!250WdefScor!0WQualityS!2019-10-31 14:22:25v!9W8U!5747W8U!9WdefScor!0XȦ8U!0W8U!1WP8U!0W8U!WW8U!0.0000W 8U!2019-10-31 14:36:25U10W8U0!2016XxX!2W8E-11E9-!2.00HXx50100!2019-10-31 14:22:2623-0!1W8345500!0W0-00 00:!0W An arrangement of the national anthem of Belarusia for Brass Quintet. There are other versions in store for String & full Orchestra. My Belarusy" (Belarusian: Мы, беларусы (My, Bielarusy); "We Belarusians") is the unofficial title of the national anthem of Belarus and the first line of its lyrics. Officially, "My Belarusy" is titled "the State Anthem of the Republic of Belarus" (Belarusian: Дзяржаўны гімн Рэспублікі Беларусь, Russian: Государственный гимн Республики Беларусь). The anthem was originally written and adopted in 1955 for use in the Byelorussian Soviet Socialist Republic. The music of the Byelorussian SSR anthem was composed by Niescier Sakałoŭski and the lyrics were written by Mikhas Klimkovich. After the dissolution of the Soviet Union, the music composed by Sakałoŭski was kept and the lyrics were discarded. New lyrics, which were written by Klimkovich and Uladzimir Karyzny, were adopted by a presidential decree issued on July 2, 2002. The lyrics of the anthem now sing of a friendly Belarus, honoring past military battles and looking forward to the future. The music was kept due to the historical connections it has to Belarus. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. Love anthems, join me on twitter, facebook & souncloud.!^^8U!WW!WW!198692Y!8U!1W!2W#8U!9.00W!6.00W8!8U!9.00W$8U!6.00W8U!0W#8U!0Wh!8U!1W8U!0W 8U!1W8$8U!0W!WW $8U!0.00W199B310EE-DF8E-11E9-8692-788U0An arrangement of the national anthem of Belarusia for Brass Quintet. My Belarusy" (Belarusian: Мы, беларусы (My, Bielarusy); "We Belarusians") is the unofficial title of the national anthem of Belarus and the first line of its lyrics. Officially, "My Belarusy" is titled "the State Anthem of the Republic of Belarus" (Belarusian: Дзяржаўны гімн Рэспублікі Беларусь, Russian: Государственный гимн Республики Беларусь). The anthem was originally written and adopted in 1955 for use in the Byelorussian Soviet Socialist Republic. The music of the Byelorussian SSR anthem was composed by Niescier Sakałoŭski and the lyrics were written by Mikhas Klimkovich. After the dissolution of the Soviet Union, the music composed by Sakałoŭski was kept and the lyrics were discarded. New lyrics, which were written by Klimkovich and Uladzimir Karyzny, were adopted by a presidential decree issued on July 2, 2002. The lyrics of the anthem now sing of a friendly Belarus, honoring past military battles and looking forward to the future. The music was kept due to the historical connections it has to Belarus. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett !0] 8U!WW!0.0000W!2019-12-31 06:37:44aBelarusian National Anthem for Brass Quintet MFAO World National Anthem Series8U!0W!0W!5W!2013-05-17 21:36:33!0W!0W Belarusian National Anthem for Brass Quintet (MFAO World National Anthem Series) Niescier Sakałoŭski Keith Terrett Music for all Occasions An arrangement of the national anthem of Belarusia for Brass Quintet. There are other versions in store for String & full Orchestra. My Belarusy" (Belarusian: Мы, беларусы (My, Bielarusy); "We Belarusians") is the unofficial title of the national anthem of Belarus and the first line of its lyrics. Officially, "My Belarusy" is titled "the State Anthem of the Republic of Belarus" (Belarusian: Дзяржаўны гімн Рэспублікі Беларусь, Russian: Государственный гимн Республики Беларусь). The anthem was originally written and adopted in 1955 for use in the Byelorussian Soviet Socialist Republic. The music of the Byelorussian SSR anthem was composed by Niescier Sakałoŭski and the lyrics were written by Mikhas Klimkovich. After the dissolution of the Soviet Union, the music composed by Sakałoŭski was kept and the lyrics were discarded. New lyrics, which were written by Klimkovich and Uladzimir Karyzny, were adopted by a presidential decree issued on July 2, 2002. The lyrics of the anthem now sing of a friendly Belarus, honoring past military battles and looking forward to the future. The music was kept due to the historical connections it has to Belarus. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. Love anthems, join me on twitter, facebook & souncloud.:38!0X[Scores!0WNameU!0WScores!0WLyricist!2017-03-31 15:41:29e38A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":201,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"2656328C-1620-11E7-B265-94FBDAB8DEDF","position-x-pc":"0"}8USM_Score!0Whange!274WnalRevie!184Ww00000!2019-11-20 07:21:49es!0000-00-00 00:00:00U1WWdefUScoreExc0=4Uhf8U45Uf8UH1_2Uf8U85Uf8U85Uf8UXDe3Uf8U87Uf8U؝2Ug8UX85U(g8U85U@g8U)6UXg8U885Upg8U85Ug8U85Ug8Up,5Ug8Ux85Ug8U8UH85Ug8U85Uh8Uh8U4Uh8U2U0h8U8UX2UHh8U85U`h8UX 85Uxh8UH!85Uh8U"85Uh8U3Uh8UH%85Uh8U( 8U&85Uh8U(6Ui8U&85U i8UhG85U8i8U8<25UPi8U 8U 6Uhi8UZ85Ui8UP6Ui8U5Ui8UA6Ui8U)_2Ui8U54Ui8U_85Uj8U_85U(j8Uȩ8U`85U@j8UX 8Uc`7UXj8Uf`7Upj8U25Uj8U25Uj8U25Uj8U8U c2Uj8U"c2Uj8U(g85Uk8Ug85Uk8UW4U0k8UXf85UHk8Ue85U`k8U8Uc85Uxk8U08UOm2Uk8U8U m2Uk8U8UX~`2Uk8U 8U`2Uk8UHb85Uk8UX8U&_2Ul8UhAT2U l8U8DT2U8l8U>T2UPl8U@8U7Uhl8U4Ul8U 8UH5Ul8U8U(t85Ul8Up85Ul8U8Uj6Ul8U885Ul8UI85Um8Uب8U85U(m8Uxa85U@78U85U8U6U 8U8UH4U 3UX2UP3Uh4U83UP8U6U8U6U8U8Uh_2U7U85U8U885U8U85U7U88U^i2U7UΌ2U07Un4U7U2U7UX8U2U7UЧ8U5Ud8U6Un8U4Uo8U8U5U0n8Uг8Ux6o3Uo8UPcL8U7U8U(b2Uo8U+_2Uo8U,_2Uo8Uh/_2Uo8U6Up8U`8UX:5U(p8Ux4U@p8Uh5o3UXp8Uh2Upp8U/_2Up8U 4Up8Uа8U16Up8U8U46Up8U=4Up8U45Uq8UH1_2Uq8U85U0q8U85UHq8UXDe3U`q8U87Uxq8U؝2Uq8UX85Uq8U85Uq8U)6Uq8U885Uq8U85Ur8U85U r8Up,5U8r8Ux85UPr8U8UH85Uhr8U85Ur8U8U4Ur8U2U8U88UX2U8U85U8UX 85U08UH!85UH8U"85U`8U3Ux8UH%85U8U8U&85U8U(6U8U&85U8UhG85U8U8<25U8UP8U 6U 8UZ85U88UP6UP8U5Uh8UA6U8U)_2U8U54U8U_85U8U_85U8U8U`85U8U 8Uc`7U8Uf`7U(8U25U@8U25UX8U25Up8U@8U c2U8U"c2U8U(g85U8Ug85U8UW4U8UXf85U8Ue85U8U8Uc85U08Uh8UOm2UH8U8U m2U`8Uر8UX~`2Ux8U8U`2U8UHb85U8U8U&_2U8U8UDon’t Get ’Round Much Anymore is the second in my unique series of jazz classics; superbly arranged for Brass Quintet. Don’t Get Around Much Anymore" is a jazz standard with music by Duke Ellington and lyrics by Bob Russell. The tune was originally called "Never No Lament" and was first recorded by Ellington in 1940 as a big-band instrumental. Russell’s lyrics and the new title were added in 1942. Parts are available for Eb Tenor Horn, Bb Trombone TC & Eb/Bb Tuba. Two different recordings of "Don’t Get Around Much Anymore," one by The Ink Spots and the other by Ellington’s own band, reached #1 on the R&B chart in the US in 1943. Both were top ten pop records, along with a version by Glen Gray. The Duke Ellington version reached #8 on the pop chart. A print license has been obtained for this arrangement. The License No. 20111218/556-1 for I Don’t Get Around Much Anymore was granted by ALFRED MUSIC PUBLISHING CO., INC.eScores!12.99W!0W!1W!0W!WW!WW!0W!WW© 1942 EMI ROBBINS CATALOG INC. for the territory of Europe and by MUSIC SALES CORPORATION (ASCAP) for the USA, its territories and possessions, Canada, the UK and other so - called reversionary rights territories and by SONY/ ATV MUSIC PUBLISHING LLC forPartsR!WW!2020-01-31 05:10:54U!2017-06-13 15:42:41!WW8U!342850W!0W8U!0Wȩ8U!0.00W 8U!22.99W8U!10.00W(8U!0W8U!WWP8U!0.00W8UQH8UASELECT ID FROM Mp3 WHERE ScoreID=? LIMIT 1;astU@Don’t Get ’Round Much Anymore is the second in my unique series of jazz classics; superbly arranged for Brass Quintet. Don’t Get Around Much Anymore" is a jazz standard with music by Duke Ellington and lyrics by Bob Russell. The tune was originally called "Never No Lament" and was first recorded by Ellington in 1940 as a big-band instrumental. Russell’s lyrics and the new title were added in 1942. Two different recordings of "Don’t Get Around Much Anymore," one by The Ink Spots and the other by Ellington’s own band, reached #1 on the R&B chart in the US in 1943. Both were top-ten pop records, along with a version by Glen Gray. The Duke Ellington version reached #8 on the pop chart. Parts are available for Eb Tenor Horn, Bb Trombone TC & Eb/Bb Tuba. If you wish, you can purchase the complete score & parts to this arrangement for 6.99 GBP from my Music For All Occasions store:musicforalloccasions.org.uk For more of my Brass Quintet arrangements such as ’’A Night in Tunisia’’ by Dizzy, check out:www.safemusic.co.uk A print license has been obtained for this arrangement. The License No. 20111218/556-1 for I Don’t Get Around Much Anymore was granted by ALFRED MUSIC PUBLISHING CO., INC. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 8U8UADont Get Around Much Anymore for Brass QuintetgeScores!0W!0W!3W!2013-05-20 15:09:43!0W!0WqDon’t Get Around Much Anymore for Brass Quintet Music by Duke Ellington Lyrics by Bob Russell Arranged Keith Terrett Keith Terrett Music for all Occasions Don’t Get ’Round Much Anymore is the second in my unique series of jazz classics; superbly arranged for Brass Quintet. Don’t Get Around Much Anymore" is a jazz standard with music by Duke Ellington and lyrics by Bob Russell. The tune was originally called "Never No Lament" and was first recorded by Ellington in 1940 as a big-band instrumental. Russell’s lyrics and the new title were added in 1942. Parts are available for Eb Tenor Horn, Bb Trombone TC & Eb/Bb Tuba. Two different recordings of "Don’t Get Around Much Anymore," one by The Ink Spots and the other by Ellington’s own band, reached #1 on the R&B chart in the US in 1943. Both were top ten pop records, along with a version by Glen Gray. The Duke Ellington version reached #8 on the pop chart. A print license has been obtained for this arrangement. The License No. 20111218/556-1 for I Don’t Get Around Much Anymore was granted by ALFRED MUSIC PUBLISHING CO., INC.sApproval!0^8U!63W!77W!2017-03-31 15:19:55{"width":175,"position-y-pc":"77","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[{"y":212,"width":29,"x":96,"center-y":230,"height":36,"center-x":110.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"63%","position-x":"right","position-y":"bottom","position-y-combined":"bottom","average-center-x":110.5,"average-center-y":230,"id":"231C1242-161D-11E7-B64A-F171ADB20EF6","position-x-pc":"63"}^8U!1W!180W!308WH8U8U@8U 8U8U8U 8U8U8U8U88U8U8Up8U8U8Uث8U#8U8U 8U8U(8Uh8U`8U8U@8U8U8U8UȬ8U8Ux8Ux8U8U8U(8UP8U 8UȦ8U8U08UЪ8U8U 8U8U8U`8U8U8Uh8U8U8U 8U8Uإ8U8U@ 8U8U(8Up8Up 8U8U8Uh8UP8U8UЭ8U88U8U8Up8U8UH8U8U8U8U8UX8U8U["177453","168883","124471","158826","9498","168745","167987","169799","169035","169183","9337","158819","85082","155068","204774","169523","176778","173750","156988"]!2020-09-07 14:52:09!1W!2019-09-25 13:15:3812F1AFE2C-DF8E-11E9-A548-788U!13350W!0W!0W!0W!0W!1W!650x840W!0W!0W!5.00W!2023-04-21 14:36:10!2023-04-21 14:36:34!1654676W!2223686W!0000-00-00 00:00:00!0000-00-00 00:00:00b8U8Uu8UD48Uu8UD58Uu8UD 58Uu8UD 8Uu8UD@58Uu8UD`58Uu8UD58Uv8UD58Uv8UD08U v8UD8U0v8UD8U@v8UD8Up85UPv8UD08U`v8UDP8Upv8UDp8Uv8UD8Uv8UD8Uv8UD8U6Uv8UD @18Uv8UD8Uv8UD88Uv8UD 88Uv8UD@88Uw8UD`88Uw8UD88U w8UD:8U0w8UD:8U@w8UD;8UPw8UD8U`w8UD8Upw8UD 8Uw8UD@8Uw8UD`8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8Ux8Ux8U x8U0x8U@x8UD 8UPx8UD@8U`x8UD`8Upx8UD0O8Ux8UDO8Ux8UDP8Ux8UD0P8Ux8UDPP8Ux8UDP8U8Un8UP{8UD8U_85UZ85U@8UDI8Up8UDpI8U8UDI8U8UDI8Ua7U `R8U7U28Uho8UQ4U @8UD7U@8UD8U88U8UD 8UU48UDz58UU48UD{58U 58UD58U8UD8UP8UD 8U8UD8U 8UD8UPb7U  i8U'7UD7Uy8UD7Uy8UD@F8Uy8UD`F8Uz8UDF8Uz8UDF8U z8UDF8U0z8UDF8U@z8UDG8UPz8UDG8U`z8UDG8Upz8UDE8Uz8UDG8Uz8UDH8Uz8UD0H8Uz8UDPH8Uz8UDI8Uz8UDI8Uz8UDG8Uz8UD G8U{8UD@G8U{8UDV8U {8UDX8U0{8UDX8U@{8UDY8UP{8UD0Y8U`{8UDPY8Up{8UDpY8U{8UDY8U{8UDY8U{8UD Y8U{8UD Z8U{8UD`G8U{8UDpH8U{8UDH8U{8UDH8U|8UDH8U|8UD P\8U |8UD_8U0|8UD_8U@|8UD_8UP|8UD`8U`|8UD `8Up|8UD`8U|8UD`8U|8UD`8Up85U|8UDa8U|8UD0a8U|8UDPa8U|8UDpa8U|8UDa8U|8UDa8U6U}8UDa8U}8UD`d8U }8UDd8U0}8UDd8U@}8UDd8UP}8UDd8U`}8UDe8Up}8UDH8U}8UDI8U}8UD0I8U}8UDPI8U}8UD@Z8U}8UD`Z8U}8UDZ8U}8UDZ8U}8UDZ8U~8UDZ8U~8UD[8U ~8UD [8U0~8UD@[8U@~8UP~8U`~8Up~8U~8U~8UD`[8U~8UD[8U~8UD[8U~8UDm8U~8UD@n8U~8UD`n8U~8UDn8U8UDn8U8UDn8Uh8U8U8UDI8U_85U!137075[8UQBadinerie- Suite No 2 in Bm- BWV 1067 for C Low Brass.sib8UaBadinerie from Suite No. 2 for C Trombone, Euphonium, Baritone & Piano (lower version))!60W7U!624W7U!3WH7U!3W7U!2021-01-25 20:56:48U!2021-01-25 20:55:12UAJ. S. Bach (1685-1750) arranged by Keith Terrett8U!WWL8U10W0!sibW7U!250W 7U!0W@8U!2021-01-25 20:56:48U!8W8U!2918W B8U!5WP8U!0Xpd8U!1Wx8U!XhX4UaCopyright 2013 MFAO (keithterrett@gmail.com) www.musicforalloccasions.org.ukU4U!WW4U!2.00W !1]8UAHere is an easier version which would suit school brass ensembles/bands; of my ’What Shall We Do With A Drunken Brass Quintet’? Great piece for your next concert! Drunken Sailor is a sea shanty, also known as What Shall We Do with a/the Drunken Sailor? The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in the early 19th century or before, during a period when ships’ crews, especially those of military vessels, were sufficiently large to permit hauling a rope whilst simply marching along the deck. With the advent of merchant packet and clipper ships and their smaller crews, which required different working methods, use of the shanty appears to have declined or shifted to other, minor tasks. "Drunken Sailor" was revived as a popular song among non-sailors in the 20th century, and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musical artists and appeared in many popular media. Although the song’s lyrics vary, they usually contain some variant of the question, "What shall we do with a drunken sailor, early in the morning?" In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. The song is #322 in the Roud Folk Song Index. Parts are available for Eb tenor Horn, Bb Euphonium/Trombone & Eb/Bb Tubas U!5.00] 8U!0W!1W!0W!WW!WW!0W!WWMFAO © 2010 Music for all Occasions Publications (keithterrett@gmail.com) www.musicforalloccasions.org.uk Edited December 2012)8U!WW!2017-06-09 17:10:17U!0000-00-00 00:00:00!WW8U!341764W!1W08U!3W8U!10.00Wخ8U!5.00W8U!10.00W`8U!5.00Wȯ8U!0xX8U!WW08U!0.00WAragedyCoro a bocca chiusa)(Right-Hand Melody)1urythmics Annie Lennox, David StewartAHere is an easier version which would suit school brass ensembles/bands; of my ’What Shall We Do With A Drunken Brass Quintet’? Great piece for your next concert! Drunken Sailor is a sea shanty, also known as What Shall We Do with a/the Drunken Sailor? The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in the early 19th century or before, during a period when ships’ crews, especially those of military vessels, were sufficiently large to permit hauling a rope whilst simply marching along the deck. With the advent of merchant packet and clipper ships and their smaller crews, which required different working methods, use of the shanty appears to have declined or shifted to other, minor tasks. "Drunken Sailor" was revived as a popular song among non-sailors in the 20th century, and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musical artists and appeared in many popular media. Although the song’s lyrics vary, they usually contain some variant of the question, "What shall we do with a drunken sailor, early in the morning?" In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. The song is #322 in the Roud Folk Song Index. Parts are available for Eb tenor Horn, Bb Euphonium/Trombone & Eb/Bb Tubas U{ "GroupOrd" : "180", "StoreGroupOrd" : "180", "StoreGroupID" : "3071", "GroupID" : "20428" } 8U(/8U!0.0000W!2022-07-25 16:01:58AWhat Shall We Do With The Drunken School Brass Quintet!0W !0W !3W!2013-04-12 13:33:07U!0W !0W !0W "c2U`8U(g85Ux8Ug85U8UW4U8UXf85U8Ue85U8U8Uc85U8Up"8UOm2U8U8U m2U 8U!8UX~`2U88U8U`2UP8UHb85Uh8U!8U&_2U8UhAT2U8U8DT2U8U>T2U8U@8U7U8U4U8U8UH5U8U"8U(t85U(8Up85U@8U8Uj6UX8U885Up8UI85U8U#8U85U8Uxa85U`8U85U78U6U78U#8UH4U3UX2U3Uh4U3U#8U6U88U6U088U8Uh_2Uf7U85UX78U885U88U85Uf7Ux 8U^i2Ug7UΌ2Ug7Un4Uq7U2U q7UX8U2U8q7Ux8U5U8U4U8U7U8"8U"8U5UA8U8Ux6o3U8U6U8U(b2U(8U+_2U@8U,_2UX8Uh/_2Up8U6U8U`8UX:5U8Ux4U8Uh5o3U8Uh2U8U/_2U8U 4U8U8U16U08U8U46UH8U=4U`8U45Ux8UH1_2U8U85U8U85U8UXDe3U8U87U8U؝2U8UX85U 8U85U88U)6UP8U885Uh8U85U8U85U8Up,5U8Ux85U8U8UH85U8U85U8U8U4U8U2U(8U88UX2U@8U85UX8UX 85Up8UH!85U8U"85U8U3U8UH%85U8U8U&85U8U(6U8U&85U8UhG85U08U8<25UH8UP8U 6U`8UZ85Ux8UP6U8U5U8UA6U8U)_2U8U54U8U_85U8U_85U 8U8U`85U88U 8Uc`7UP8Uf`7Uh8U25U8U25U8U25U8U@8U c2U8U"c2U8U(g85U8Ug85U 8UW4U( 8UXf85U@ 8Ue85UX 8U8Uc85Up 8Uh8UOm2U 8U8U m2U 8U8UX~`2U 8U8U`2U 8UHb85U 8U8U&_2U!8UhAT2U!8U8DT2U0!8U>T2UH!8Ux8U7U`!8U4Ux!8U8UH5U!8U8U(t85U!8Up85U!8U8Uj6U!8U885U!8UI85U"8U8U85U "8Uxa85Uؑ3U85U3U6UhB8U8UH4U8UX2U3Uh4UB8U8U6UB8U6UB8U8Uh_2UPq7U85UA8U885UB8U85Uhq7Up8U^i2Uq7UΌ2Uq7Un4U7U2U7U8U2U7U8U5U8U6Uc8U4Ue8UP8U5Uc8U8Ux6o3Ue8U88U@m8U(b2U0e8U+_2UHe8U,_2U`e8Uh/_2Uxe8U6Ue8U8UX:5Ue8Ux4Ue8Uh5o3Ue8Uh2Ue8U/_2Uf8U 4U f8U8U16U8f8U8U46UPf8Ue2024-0"8U8U@8U` 8U("8U0#8U`#8U8U8U8Ux#8U"8U8Up8U8UX"8U8U#8U 8Up8U8U(8Uh8U`8U8U!8U8U8$8U8U8U8Ux8U"8U!8U8U(8UP8U8U!8U8U08U8U#8U 8U !8U8U"8U8!8UP!8U#8U8U8U8UH8U 8U#8U8U0 8Uh!8Up8U@8UH#8U8U88U 8U8U8U88U8U8U!8U8UH8U8U8U 8U 8UX8U4-04-23 ["88308","168223","140556","78183","140617","151528","59699","188994","140520","4062","75247","23092","140618","173346","4413","79408","6032","32625","79766","31140"]6!2020-09-05 07:14:59!1W!2019-09-25 13:18:36!5296W!0W!0W!0W!1W!650x501W!0W!0W!5.00W!2023-04-20 03:10:59!2023-04-20 03:11:43!1493447W!1483455W!0000-00-00 00:00:00!0000-00-00 00:00:00Q8U!0000-00-00 00:00:00!0W@!0W`!0W !3(Y7U!2W7U!2021-06-24 16:48:15U!2021-06-24 18:16:34U!Enoch SontongaH8U!Keith Terrett8U!1897W8U12011W0!sibWX7U!250W7U10Wp7U7U0!145926[P8UQSine Nomine (For all the Saints) for Brass Quintet & Percussion.sibaFor all the Saints (Sine Nomine) for Brass Quintet & Percussion (All Saint's Day)7U!9Wh7U!0W%7U!4W7U!2W(7U!2014-12-19 06:17:17U!2024-01-26 02:17:36UARalph Vaughan Williams Arranged Keith Terrettp8U!Keith Terrett8U11864W0!sibW@N8U!250W!0W!2014-12-19 06:17:17!27W!4150W!8W!2013X!2W!4.00hX!0W!1W!0W!WW!WW 6Uh8U<7U8U`8U5U8Uy7U8U67U؆7U7U8#7U8Ux6UH8U6U8U6U8U6U8U#2U8UP8UH4U8U8U7U88U{6U8Uh!4U8U(985UX4U8UX7U8Uhy7U(8Uy7U@8Uy7UX8U7U8Ux8U7U8U8#7Ux8Ux6UP8U6U8U6UH7U6Un7U#2U(8U8UH4U8U8U7U8Ux6o3U8U8U0*3U8U;5U`8U8U7U8UXDe3U8UAe3U8UGe3UX8UX̟6UtA5U "^2U6Up8U5U8Uh5U8UAe3U8Uh2U8U3U87Up7Ux6o3Up7U8U0*3U7U;5U7U(8U7U7UXDe3U7UAe3U7UGe3U7U5U7U6U8Ux6o3U87UP8U4U8Uh>85UH 4Uh7Uxn3U0o8U8U_3U7Uj6U 8Uk6Uh8U(n3Un8U085U@5U7UI3U:7Un8U=3U7Ul8UH7Ul8U@:3Uhn3Un8U(6U$8U6Um8Ux*^2U+5Up7U`2UX 7U8n3Uxo8Ue3U8R8Uh(>8U;3Un3U`l8U?3Un3U8m8Uy7U8x$8U@3Un3UXn8U@3Un3Um8UXx2U7U7Uo8U7U p8U7Uhp8U7Up8U`64U5d6Up8U8:7Uq8U(54UXq8U=6Uq8Ux 8U:7Uq8Uȝn3U0r8Un3Uxr8UȘn3Ur8U(n3Us8Ua.6Uhs8U:7Us8U !8Uhn3Us8U4U@t8U(6Ut8Un3Ut8U:7U`u8Ul7Uu8U(:7Uu8Un3U8v8U87a3Uv8U84Uv8Uh*3Uw8U:7UXw8U8n3Up8Un3U8U:7U8U5UH8Uh`3U8U8; 3Uؠ8U(> 3U 8Uhn3Uh8Un3U8U"8Un3U8UXn3U@8Un3U8Un3UТ8U$8UH:7U8Uh(6U`8Ux#8Uy7U8U47U8Un3U88U)2U8Un3UȤ8UHn3U8Un3UX8Un3U8Un3U8UhS7U08UXn3Ux8Un3U8U("8Un3U8UHn3UP8Un3U8Un3U8UE3U(8U 8U(n3Up8Uxn3U8Uȓn3U8Un3UH8UȌ]3U8U8E3Uة8U 5U 8UȔn3Uh8U8Un3U8U0#8Uhn3U8Un3U@8U!8U!6U8U` 8Uؖn3UЫ8U$8U- 6U8U#8U+ 6U`8UH7U8U8Un3U8Uؗn3U88Uxn3U8UT4U8U8n3U@8Un3U8U@"8Uؙn3UЮ8UX"8U(n3Up8U $8Uxn3U8U!8UȚn3U8U!8Un3UH8U%8U7U8UH7U8U"8Un3U 8U6Uh8U!8Un3U8U"8Uhn3U8Uo the em(Y(Ys="refineField " rel=""> an>d48UWs="refineField " rel=""> an>ame="instru1$58UD8UrcussionE8U Name:8U 1/data/www/www.scoreexchange.com/htdocsq 8Uh8U8U 8U88U8U8Uh and thq8UA/usr/www/resources/ADAP3/GenericObject2.pm7U;1W0 8U+g08U8U8U8Up8U8U some of!8U a5U tA5U萿4U!2017-06-09 17:10:17!HASHW16Ux,8U]a15093a4U 8U =4U!5>8UW !3 8U !0?8U !ArrangerNameU !HASHX3U!HASHW18082812!Hk2U`$8U A8U8UH8U8U 8U8U8U!Quantity 8U 1~ 0,8U!>4U~:8U 14U85U5U4U4U!3Up3U !h7U7U!28082W possibl!WWm Lov!100Won twitt!123203W& soundc!0Wutheran !7055360Wlyrics b!0000-00-00 00:00:00requ!92659Wound in a 8U 萿4U!88319X? !1.99W8U10W8U01African Anthem for Brass QuintetScores!9W310W8Ux8U0What Shall We Do With The Drunken School Brass Quintet? Sea Shanty Arr:Keith Terrett Keith Terrett Music for all Occasions Here is an easier version which would suit school brass ensembles/bands; of my ’What Shall We Do With A Drunken Brass Quintet’? Great piece for your next concert! Drunken Sailor is a sea shanty, also known as What Shall We Do with a/the Drunken Sailor? The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in the early 19th century or before, during a period when ships’ crews, especially those of military vessels, were sufficiently large to permit hauling a rope whilst simply marching along the deck. With the advent of merchant packet and clipper ships and their smaller crews, which required different working methods, use of the shanty appears to have declined or shifted to other, minor tasks. "Drunken Sailor" was revived as a popular song among non-sailors in the 20th century, and grew to become one of the best-known songs of the shanty repertoire among mainstream audiences. It has been performed and recorded by many musical artists and appeared in many popular media. Although the song’s lyrics vary, they usually contain some variant of the question, "What shall we do with a drunken sailor, early in the morning?" In some styles of performance, each successive verse suggests a method of sobering or punishing the drunken sailor. In other styles, further questions are asked and answered about different people. The song is #322 in the Roud Folk Song Index. Parts are available for Eb tenor Horn, Bb Euphonium/Trombone & Eb/Bb Tubas efScor!0^78U!0W!0W!2017-03-31 11:50:48A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":205,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"EC516EA0-15FF-11E7-A1B6-E36EEADAB339","position-x-pc":"0"}LastUpdatedP!0W!220W!151W8UA8U(A8UX8U 8U(8UX8U@8U8U@8Up8U8U8UXA8U@8UP8U?8U(#8U8Uh8U?8UA8UP@8UH?8U@8Ux8UA8U08UH8U@8Uش8U`?8U8U8UA8U`8U8@8U8U8U 8Uh8U8U8U@8U8U?8U8U08UH8U8U@8Uh@8Uخ8UA8U8U8U8U(8U`8U8U88U@8Uȯ8U08U8U?8UA8U @8UpA8Ux?8U8U88U0?8U8UP8U8U8U8Up?8UhAT2U8U8DT2U8U>T2U8Ux8U7U 8U4U88U8UH5UP8UȲ8U(t85Uh8Up85U8U8Uj6U8U885U8UI85U8U8U85U8Uxa85UA8U85Ud8U6U(d8U8UH4Uh3UX2U3Uh4U3U8U6Ud8U6Ud8U?8Uh_2U 7U85Uc8U885Ud8U85U87Up8U^i2UP7UΌ2Uh7Un4UX7U2Up7U@A8U2U7U8U5Un8U6U8U4UP8UB8U5U8UG8Ux6o3U88UR8Ux8U(b2Uh8U+_2U8U,_2U8Uh/_2U8U6U8UHB8UX:5U8Ux4U8Uh5o3U8Uh2U(8U/_2U@8U 4UX8UD8U16Up8UH8U46U8U=4U8U45U8UH1_2U8U85U8U85U8UXDe3U8U87U08U؝2UH8UX85U`8U85Ux8U)6U8U885U8U85U8U85U8Up,5U8Ux85U8UE8UH85U 8U85U88UD8U4UP8U2Uh8U F8UX2U8U85U8UX 85U8UH!85U8U"85U8U3U8UH%85U8UB8U&85U(8U(6U@8U&85UX8UhG85Up8U8<25U8U8C8U 6U8UZ85U8UP6U8U5U8UA6U8U)_2U8U54U08U_85UH8U_85U`8UG8U`85Ux8UC8Uc`7U8Uf`7U8U25U8U25U8U25U8U(D8U c2U8U"c2U 8U(g85U88Ug85UP8UW4Uh8UXf85U8Ue85U8UB8Uc85U8UPF8UOm2U8UxB8U m2U8UE8UX~`2U8UC8U`2U8UHb85U(8UxE8U&_2U@8UhAT2UX8U8DT2Up8U>T2U8U`H8U7U8U4U8UhC8UH5U8UF8U(t85U8Up85U8UH8Uj6U8U885U08UI85UH8UF8U85U`8Uxa85U8U85Uo8U6Un8UG8UH4U3UX2U 7Uh4U 7UpG8U6U8o8U6UPo8UI8Uh_2U7U85Uxn8U885U o8U85U7UXD8U^i2U7UΌ2U7Un4U7U2U7UxK8U2U7UPL8U5Uq8Ux7U {8U6Uxq8UE8U5UH8U8Ux6o3Ur8U4Ur8U(b2Us8U+_2U(s8U,_2U@s8Uh/_2UXs8U6Ups8UL8UX:5Us8Ux4Us8Uh5o3Us8Uh2Us8U/_2Us8U 4Ut8UN8U16Ut8UH8U46U0t8U=4UHt8U45U`t8UH1_2Uxt8U85Ut8U85Ut8UXDe3Ut8U87Ut8U؝2Ut8UX85Uu8U85U u8U)6U8u8U885UPu8U85Uhu8UbO8U["79489","187341","193966","163838","100982","163835","65604","66209","126971","139940","164599","126972","80132","80329","95279","60032","195439","165650","150607","79824"]:P8U!2020-09-24 01:18:49!1W!2019-09-25 12:45:50105E54534-DF8A-11E9-BF25-78P8U!15483W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-05-03 09:29:58!2023-05-03 09:30:29!1240353W!1090020W!0000-00-00 00:00:00!0000-00-00 00:00:00Q0B8U1R8Uk62142gAPachelbel's Kanon for Brass Octet (Viennese Edition)!56W`!0W7U!4W7U!2WX7U!2022-08-20 05:18:30U!2024-01-18 02:24:46U!08XР8U!0W08U!6W@8U16.00W0!sibW(7U!250W(7U!0Wpr7U1Pachelbel's Kanon for Brass Octet.sib!2022-08-20 05:18:30U!0W!2179W!0W!1.50Xh8U!2022-08-20 05:18:31U!1W8U!0W8U!157109W8Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !J.Pachelbel!Keith Terrett Air on the G String arranged for Brass Band Quartet, which consists of 2 Bb Cornets, Eb Tenor Horn and a Bb Euphonium; all reading in treble clef. There is an optional part for Eb Tuba, you could put the Euphonium on the Bb Cornet part if you use a Tuba; up to you! On this site you will find a wealth of fine band music, and in addition a great collection of music for brass ensemble such a Amazing Grace, The Gypsy Trumpeter in New Orleans, along with music by Pachelbel and Scheidt.UY8U!4.00W!0W!1W!0W!WW!WW!0W!WWQ© 2010 MFAO (keithterrett@gmail.com) Photocopying is illegal.QZ8U!WW!2017-06-12 22:31:13U!WW!293132WG8U!1W!3WE8U!8.00WG8U!4.00WB8U!8.00WF8U!4.00WHE8U!0WC8U!WWpD8U!0.00WH8UQ L8UA:;3U(\8U?=88319@QAir on the G String arranged for Brass Band Quartet, which consists of 2 Bb Cornets, Eb Tenor Horn and a Bb Euphonium; all reading in treble clef. There is an optional part for Eb Tuba, you could put the Euphonium on the Bb Cornet part if you use a Tuba; up to you! For more of my music for brass, visit my Canadian publishers website:www.cherry-classics.com On this site you will find a plethora of brass music composed and arranged by some of the world’s leading players and writers! For even more brass quintet music, you really should check out my publisher in South Wales:www.safemusic.co.uk On this site you will find a wealth of fine band music, and in addition a great collection of music for brass ensemble such a Amazing Grace, The Gypsy Trumpeter in New Orleans, along with music by Pachelbel and Scheidt. gP!1W!0W!1W!0Wq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } `8U!0.0000W!2014-05-13 19:14:55AAir from the Suite No 3 in D for Brass Band QuarteteSet!0W!0W!5W!2013-04-09 00:30:57!0W!0WAir from the Suite No. 3 in D for Brass Band Quartet Johann Sebastian Bach (1685-1750) Edited by Keith Terrett Keith Terrett Music for all Occasions Air on the G String arranged for Brass Band Quartet, which consists of 2 Bb Cornets, Eb Tenor Horn and a Bb Euphonium; all reading in treble clef. There is an optional part for Eb Tuba, you could put the Euphonium on the Bb Cornet part if you use a Tuba; up to you! On this site you will find a wealth of fine band music, and in addition a great collection of music for brass ensemble such a Amazing Grace, The Gypsy Trumpeter in New Orleans, along with music by Pachelbel and Scheidt.?!0W!0W!58W!34W!2017-03-31 13:06:24{"width":300,"position-y-pc":"34","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":74,"width":29,"x":142,"center-y":88.5,"height":29,"center-x":156.5},{"y":51,"width":33,"x":214,"center-y":67.5,"height":33,"center-x":230.5},{"y":90,"width":59,"x":165,"center-y":119.5,"height":59,"center-x":194.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":74,"width":29,"x":142,"center-y":88.5,"height":29,"center-x":156.5},{"y":51,"width":33,"x":215,"center-y":67.5,"height":33,"center-x":231.5},{"y":85,"width":73,"x":161,"center-y":121.5,"height":73,"center-x":197.5},{"y":34,"width":98,"x":18,"center-y":83,"height":98,"center-x":67}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":75,"width":28,"x":143,"center-y":89,"height":28,"center-x":157}]},"height":265,"position-x-combined":"58%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":173.875,"average-center-y":90.625,"id":"7C1351F2-160A-11E7-AA16-CAD23863F0F2","position-x-pc":"58"}iehF8UL8U`K8U@D8UF8UG8U@G8UK8UH8UJ8UXG8UF8UB8UK8UJ8U8F8UI8U@#8UC8UPC8UI8UHK8UJ8UI8UK8U`E8UK8UH8U0H8UJ8UH8UI8UF8UE8UK8UHH8UpJ8UC8UD8UI8UPI8UH8UG8U@J8UE8UJ8UF8UE8U0E8UG8U0K8UJ8UB8UhL8UC8UF8UB8UD8UHE8UH8U C8U(G8UC8UB8UpD8U(J8UK8UXJ8UK8UI8UE8U I8UhI8UC8U8I8UD8UD8UxH8UName51["95548","34306","66817","24379","106045","46577","96875","6327","78918","87837","23506","126789","106046","32624","95306","56445","50885","6437","146096","23508"]U!2020-09-02 22:20:04!1W!2019-09-25 12:56:251802ED67E-DF8B-11E9-B6D0-78Scores4!11183W!0W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-04-29 02:44:56!2023-04-29 02:45:20!1500056W!2329615W!0000-00-00 00:00:00!0000-00-00 00:00:008Up8UZ85UN8UD 8UN8UD8UN8UD8UN8UD8U0b7U [8U7U2q8U 8U8U i:5U8UD8U8UD8Uq8UP8UD`8U058UD58U`58UD@58Up58UD58U 8UD8U8UD8U`8UD8Up8UD8Ub7U  8Up*7UD8U 8UD@8U08UD8U@8UD8UP8UD8U`8UD8Up8UD 8U8UD@8UЀ8UD8U8UD8U8UD08U8UD8U8UDP8U 8UDp8U08UD8U@8UD8UP8UD`8U`8UD8Up8UD8U8UD8U8UD8U8UD 8U8UDP8U8UDp8UЁ8UD8U8UD8U8UDЗ8U8UD8U8UD8U 8UD8U08UD08U@8UD8UP8UD8U`8UD8Up8UDВ8U8UD8U8UD8U8UD @8U8UDЭ8U8UD8UЂ8UD8U8UD08U8UDP8U8UDp8U8UD8U 8UD8Up85U08UD8U@8UD08UP8UDP8U`8UDp8Up8UD8U8UD8U6U8UD Я8U8UD08U8UDP8U8UDp8UЃ8UD8U8UD8U8UD 8U8UD08U8UDP8U 8UDp8U08UD08U@8UDP8UP8UDp8U`8UD8Up8UD8U8UDШ8U8UD8U8U8UD8U8UD08UЄ8U8U8U8U8U 8UDP8U08UDp8U@8UD8UP8UD8U`8UDP8Up8UDp8U8UD8U8UD8U8UD8U{8U`q8UN8UD8U_85UZ85UT8UD8UU8UD8UU8UD 8U U8UD@8Upb7U 8U7U2|8Ur8U7U H03U8UD\8U8UD7U`|8U`8UD7U58UD58U58UD58U58UD 68U8UD 7U8UD7U8UD@7U8UD`7Ub7U  8U*7UD@18U8UDR8U8UD S8UІ8UD@S8U8UD`S8U8UDS8U8UDS8U8UDS8U 8UDpT8U08UDT8U@8UDT8UP8UDT8U`8UDU8Up8UD U8U8UD@U8U8UD`U8U8UDV8U8UDV8U8UDS8UЇ8UDT8U8UD T8U8UD`18U8UD@T8U8UD8U 8UD8U08UD8U@8UD 8UP8UD@8U`8UD`8Up8UD8U8UD8U8UD8U8UDU8U8UDU8U8UDU8UЈ8UDU8U 8U 9@28LP|PX$( y8U48%(  MP`h18 `y8U (.0 8U!90081[8U!0Wx7U11WH7U01Pachelbel’s Kanon for Brass OctetU!56W{7U!0W 7U!4WP7U!2W$7U!2015-03-16 13:44:54U!2022-08-20 05:52:11U!J.Pachelbel7U!Keith Terretth7U!0Wx7U10W0!sibW07U!250W7U!0W(N8UAPachelbel Canon for Brass Octet (Edited March 2015).sib!2015-03-16 13:44:54!2W!2310W!2W!5X!1.99xX!2015-03-16 13:45:00!1W!0W!152213W11W4U0!2021-01-25 20:56:49U!1WM8U!0WN8U!0W`N8U!08X`8U!0WM8U!52WL8U123WO8U0A transcription in a lower tessitura for C low brass & Piano of J. S. Bach’s Badinerie. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.8U!3.99W!0W!0W!0W!WW!WW!0W85Uu8Up,5Uu8Ux85Uu8U8UH85Uu8U85Uu8UN8U4Uu8U2Uv8Uh8UX2U(v8U85U@v8UX 85UXv8UH!85Upv8U"85Uv8U3Uv8UH%85Uv8UM8U&85Uv8U(6Uv8U&85Uw8UhG85Uw8U8<25U0w8UpM8U 6UHw8UZ85U`w8UP6Uxw8U5Uw8UA6Uw8U)_2Uw8U54Uw8U_85Uw8U_85Ux8U08U`85U x8U@M8Uc`7U8x8Uf`7UPx8U25Uhx8U25Ux8U25Ux8U`N8U c2Ux8U"c2Ux8U(g85Ux8Ug85Ux8UW4Uy8UXf85U(y8Ue85U@y8UL8Uc85UXy8U8UOm2Upy8UL8U m2Uy8U8UX~`2Uy8UM8U`2Uy8UHb85Uy8U8U&_2Uy8UhAT2Uz8U8DT2Uz8U>T2U0z8U8U7UHz8U4U`z8UM8UH5Uxz8U8U(t85Uz8Up85Uz8U8Uj6Uz8U885Uz8UI85Uz8U@8U85U{8Uxa85U0 7U85U`8U6U7U8UH4Uc8UX2U7Uh4U8U8U6U8U6U8U(8Uh_2U7U85U08U885U8U85U7UN8U^i2U(7UΌ2U@7Un4U7U2U 7U8U2U87U8U5U|8U4Ux}8Uȳ7U'8U88U5Uq8U88Ux6o3U`}8U6U{8U(b2U}8U+_2U}8U,_2U}8Uh/_2U}8U6U}8Uȟ8UX:5U~8Ux4U ~8Uh5o3U8~8Uh2UP~8U/_2Uh~8U 4U~8U88U16U~8U8U46U~8U=4U~8U45U~8UH1_2U~8U85U8U85U(8UXDe3U@8U87UX8U؝2Up8UX85U8U85U8U)6U8U885U8U85U8U85U8Up,5U8Ux85U08U(8UH85UH8U85U`8U8U4Ux8U2U8U8UX2U8U85U#8UX 85U #8UH!85U8#8U"85UP#8U3Uh#8UH%85U#8UX8U&85U#8U(6U#8U&85U#8UhG85U#8U8<25U#8U8U 6U$8UZ85U($8UP6U@$8U5UX$8UA6Up$8U)_2U$8U54U$8U_85U$8U_85U$8Uh8U`85U$8U8Uc`7U%8Uf`7U%8U25U0%8U25UH%8U25U`%8U8U c2Ux%8U"c2U%8U(g85U%8Ug85U%8UW4U%8UXf85U%8Ue85U&8U(8Uc85U &8UУ8UOm2U8&8U8U m2UP&8U@8UX~`2Uh&8U8U`2U&8UHb85U&8U8U&_2U&8UhAT2U&8U8DT2U&8U>T2U&8U8U7U'8U4U('8U8UH5U@'8U08U(t85UX'8Up85Up'8U(8Uj6U'8U885U'8UI85U'8Ux8U85U'8Uxa85U07Ub8U!2021-01-25 20:55:12U!0000-00-00 00:00:00!WW8U!676346W!0W`8U!0W08U!0.00WL8U!7.99W(8U!4.00W8U!0WM8U!WWN8U!0.00W`8UQh8UA8U%b62212@A transcription in a lower tessitura for C Trombone & Piano of J.S.Bach’s Badinerie. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.UЭ8U!0W!0W!1W!0W!WW!0.0000W!2021-01-25 20:57:55aBadinerie from Suite No 2 for C Trombone Euphonium Baritone Piano lower versionScores!0W!0W!4W!2013-04-13 06:46:08!0W!0W1Badinerie from Suite No. 2 for C Trombone, Euphonium, Baritone & Piano (lower version)) J. S. Bach (1685-1750) arranged by Keith Terrett Music for all Occasions A transcription in a lower tessitura for C low brass & Piano of J. S. Bach’s Badinerie. The badinerie (also spelled ’battinerie’; from French ’jesting’) is best known for its designation as the final movement of Johann Sebastian Bach’s Orchestral Suite No. 2 in B minor. The movement is light in mood, and is structured in a binary form; it is cast in a swift 2/4 metre beginning on the upbeat, much in the manner of a fast gavotte. Badineries also appear in French ouvertures by Christoph Graupner and Georg Philipp Telemann, also in fast tempos and in 2/4 or alla breve metre. The presence of an upbeat is not a consistent feature; examples by Telemann include the upbeat (including one example which is essentially a gavotte), while Graupner’s do not. While the designation ’badinerie’ is not common, its Italian counterpart ’scherzo’ appears more frequently.!2017-03-31 15:34:25U{"width":243,"position-y-pc":"23","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":35,"width":67,"x":92,"center-y":68.5,"height":67,"center-x":125.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":36,"width":68,"x":91,"center-y":70,"height":68,"center-x":125}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[{"y":35,"width":70,"x":91,"center-y":70,"height":70,"center-x":126}]},"height":300,"position-x-combined":"52%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":125.5,"average-center-y":69.5,"id":"29A835A8-161F-11E7-B51D-9A717A12773A","position-x-pc":"52"}?!3W!250W!308W8UP8U8UxN8UP8UX8U8U`8U 8U8U8U8UL8U؞8U8U8U@8UX#8UN8UM8U8U8UН8UȜ8UH8U8U8U`8Ux8U08U8U8U8U 8U 8U8U8UM8U08UP8U8U88U8U8UH8UX8Uș8U`8Ux8UК8Ux8U8UL8U8U0N8U(8U(M8UHN8U8U؛8UXM8Up8UM8UL8UN8Up8U88U8U8U8Uؘ8Uh8U8UN8U8UN8UO8U8U ["198144","198360","74414","74644","77384","16650","58043","98441","129193","62212","74645","207446","34894","158136","74416","143813","49365","87992","74423"]8U!2020-09-15 05:19:39!1W!2019-09-25 13:17:371767CC200-DF8E-11E9-B6D0-788U!13753W!0W!0W!0W!1W!650x839W!0W!0W!5.00W!2023-04-20 19:02:32!2023-04-20 19:03:03!2119833W!2970855W!0000-00-00 00:00:00!0000-00-00 00:00:00!0^8U!1W!0W!WW!WW!0W!WW!WW!WW!2017-06-09 17:10:17U!0000-00-00 00:00:00!WWP8U!1333W!1W8U!3Wh8U!12.00W@8U!6.00W`8U!12.00WȢ8U!6.00W08U!0W8U!WW8U!0.00W!1X8U!0W11WP8Ux8U0An arrangement of Pachelbel's Kanon for Brass Octet. Parts are available in a variety of transpositions, e-mail me your personal requirements:keithterrett@gmail.com!1W!0W!1W!0W!0.0000W!2022-08-20 05:23:49APachelbels Kanon for Brass Octet Viennese Editioncores!0W!0W!5W!2013-04-15 13:36:19!0W!0WPachelbel's Kanon for Brass Octet (Viennese Edition) J.Pachelbel Keith Terrett Music for all Occasions Another arrangement of Pachelbel's Kanon, but this one for Brass is the best!!0W!0W!37W!64W!2017-03-31 13:13:22{"width":300,"position-y-pc":"64","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[{"y":126,"width":29,"x":95,"center-y":143.5,"height":35,"center-x":109.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":225,"position-x-combined":"37%","position-x":"left","position-y":"bottom","position-y-combined":"64%","average-center-x":109.5,"average-center-y":143.5,"id":"755C7C0C-160B-11E7-AD55-BB20B4E05B3E","position-x-pc":"37"}teLastUp!1W!300W!225W8U8U 8U8U8U8U8U8UX8U8Uؤ8UH8U8UP8Ux8U8Ux8Up#8U`8UР8UH8U8U8U8U8U8U8U8U8U8U@8U8U8UX8U8Uȥ8U8U8Uh8U8UЦ8Up8UP8U8U8U8U8U8U8U8U8U`8U@8U(8Ux8U`8Up8U8UȢ8U8U8U8U08U8U8U8U8Uا8Uh8U08U8U8U8UH8U8U 8UP8U8UdefScor["31848","94364","39408","35253","116462","9177","116250","99812","117184","101587","50021","114496","196217","179225","49113","41742","89530","99456","95586","39249"]!2020-08-28 03:47:41!1W!2019-09-25 12:57:1319C9F8966-DF8B-11E9-AFAE-7878U!15724W!0W!0W85U7U6Uhr8U 8UH4U`n8UX2U7Uh4Ur8U8U6Ur8U6Ur8U`8Uh_2UP7U85Uq8U885Ur8U85Uh7Uء8U^i2U7UΌ2U7Un4U7U2U7U88U2U7U8U5U(8Uh8Uh28U6U(8Up8U5Up|8U8Ux6o3U(*8U4U@*8U(b2UX*8U+_2Up*8U,_2U*8Uh/_2U*8U6U*8U@8UX:5U*8Ux4U*8Uh5o3U+8Uh2U+8U/_2U0+8U 4UH+8U8U16U`+8U8U46Ux+8U=4U+8U45U+8UH1_2U+8U85U+8U85U+8UXDe3U,8U87U ,8U؝2U8,8UX85UP,8U85Uh,8U)6U,8U885U,8U85U,8U85U,8Up,5U,8Ux85U,8U8UH85U-8U85U(-8U8U4U@-8U2UX-8U8UX2Up-8U85U-8UX 85U-8UH!85U-8U"85U-8U3U-8UH%85U.8U8U&85U.8U(6U0.8U&85UH.8UhG85U`.8U8<25Ux.8U08U 6U.8UZ85U.8UP6U.8U5U.8UA6U.8U)_2U/8U54U /8U_85U8/8U_85UP/8U8U`85Uh/8U8Uc`7U/8Uf`7U/8U25U/8U25U/8U25U/8U 8U c2U/8U"c2U08U(g85U(08Ug85U@08UW4UX08UXf85Up08Ue85U08U8Uc85U08UH8UOm2U08Up8U m2U08U8UX~`2U08U8U`2U18UHb85U18Up8U&_2U018UhAT2UH18U8DT2U`18U>T2Ux18UX8U7U18U4U18U`8UH5U18U8U(t85U18Up85U18U8Uj6U28U885U 28UI85U828U8U85UP28Uxa85U7U85U|8U6Ud7U8UH4U8UX2Ud7Uh4U|8Uh8U6U}8U6U0}8U8Uh_2U7U85UX|8U885U}8U85U7UP8U^i2U7UΌ2U7Un4UL8U2UL8Up8U2UL8U8U5U8)8U6U7U4U7U08U5U7U87Ux6o3U7U(\8U07U(b2U 7U+_2U87U,_2UP7Uh/_2Uh7U6U7Ux8UX:5U7Ux4U7Uh5o3Uȭ7Uh2U7U/_2U7U 4U7U8U16U(7U7U46U@7U=4UX7U45Up7UH1_2U7U85U7U85U7UXDe3UЮ7U87U7U؝2U7UX85U7U85U07U)6UH7U885U`7U85Ux7U85U7Up,5U7Ux85U7U8UH85Uد7U85U7U8U4U7U2U 7U7UX2U87U85UP7UX 85Uh7UH!85U7U"85U7U3U7UishedZi!650x918X^P8U!0W!0W!5.00W!2023-04-28 13:22:11!2023-04-28 13:22:57!4758006W!6595557W!0000-00-00 00:00:00!0000-00-00 00:00:00 /0`h (>@*0$( y8U58,0 ?@48*0 x8U#(78  08`h?Q8Ua7U7USl@5U!7U7UA/usr/www/resources/ADAP3/GenericObject2.pmuintet, a gre7Uh7UnL7UP7UnL7U87U7U7U 7UnL7U7U4Uij7U7U7U7U7U]5U7Ux7U`7UH7U07U7U7U7U7U^5U_5U`_5U_5U_5U_5U`5U`5Uh`5Ua5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4Uartley, 14Uȸ5U4U]5U4U@^5Up^5U^5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U!D8UKj5U:15!2023-05-09 10:51:06a7U7U]l@5U!ID:Score::Mp3::id!7U(7UA/usr/www/resources/ADAP3/GenericObject2.pm Thunder Marc@7U7UnL7U7UnL7U7U7U7U7UnL7U7U4Uij7U7Ux7U`7U07U]5U7U7U7U7U7U7U7Up7UX7U^5U_5U`_5U_5U_5U_5U`5U`5Uh`5Ua5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4Ubone" (114Uȸ5U4U]5U4U@^5Up^5U^5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U!5 minutes7U !D8UKj5UA/usr/www/resources/ADAP3/GenericObject2.pmI3U!'98U<8U!Email068U !620U!03U 11.50Weexchange.com/0q(3UhPS8U43U!Jazz combo !20W !1W !4UP7U !0V6U/V6U14Uȸ5U4U]5U4U@^5Up^5U^5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U1. Written for Duet + keyboard 0!?8UX<4UE8U`7U7UnL7U8 7UnL7U 7Up7U7U 7UnL7U 7U4Uij7U 7UH 7U 7U7U]5U 7U( 7U` 7U7U7U 7U 7U 7U d7U^5U_5U`_5U_5U_5U_5U`5U`5Uh`5Ua5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U!`15Uql::st !0b2U3U !53UX$7UASELECT * FROM Instrumentations WHERE ID =?3U14U85U5U4U4U!IsFreere::isFree0!18.117.107.90 !HASHUA lively bouncy tune such as might be heard in a circus.ts & Trombone. Crimond" is the name of the hymn tune by Jessie Seymour Irvine, often used for a metrical version of Psalm 23.! 8UW!!8UW!"8UW03U!$8UW!%8UW!&3UW !Bach arr. Jordan Grigg1DBI:mysql:ScoreExchange:192.168.124.33!tsdkjlfhg5 a/seview/preview/scores/123203/20170817130016/0/1x260.png 260wWWa/seview/preview/scores/123203/20170817130016/0/1x650.png 650wWW!HASH98U !USQLrencyIDa/seview/preview/scores/123203/20170817130016/0/1x620.png 620wWWq03U3U(3U@3UX3Up3U3U3U3U3URX8U3U03U!8U 7U !5 minsW1LicensePerformanceerformanceP3U!ADAP3ut9999998!2023-05-09 10:51:1917 8U8U(8UP8U! 8Ui8U@^8U(8U7 8U( 8U 8UЍ 8U98UHE8U 8U0 8U8UR8UȠ8U=8U88U@ 8U~8Ux8U 8U 8Ud 8U 8Ux8U` 8U8Uи8U)8U 8Ux 8U@3 8U8U 8U88U'8U 8U8UN8U1 with a duration of 5 minsWQa0ڤ3U#g3U|萿4U!HjD8Uscores/91`xB!3U! 7Uh 7UQ/usr/www/resources/ADAP3/GenericObject2.pm3UP!Hk2U`7U!Hk2UW1Hk2U4UCl2U03U0!4UH4U`4U1get_genre_ids_from_score_idom_score_idaz7Ux7U] =4U18Uvqk3Up3U ȈV2UThe African Anthem arranged for Classical Brass Quintet. This is not an anthem for a nation, but for a whole continent. Originating with the Bantu people in South Africa, it is now sung throughout Africa in various languages. The melody is also used by Zambia, South Africa and Tanzania in their respective National Anthems. "Nkosi Sikelel' iAfrika" (Xhosa pronunciation: [ŋkʼɔsi sikʼɛlɛl‿iafrikʼa], lit. 'Lord Bless Africa') is a Christian hymn originally composed in 1897 by Enoch Sontonga, a Xhosa clergyman at a Methodist mission school near Johannesburg. The song became a pan-African liberation song and versions of it were later adopted as the national anthems of five countries in Africa including Zambia, Tanzania, Namibia and Zimbabwe after independence. Zimbabwe and Namibia have since adopted new compositions for their national anthems. The song's melody is currently used as the national anthem of Tanzania and the national anthem of Zambia. In 1994, Nelson Mandela decreed that the verse be embraced as a joint national anthem of South Africa, with a revised version including elements of "Die Stem" (the then co-state anthem inherited from the previous apartheid government) adopted in 1997. The hymn has often been considered the "African national anthem" due to its reverence of the African continent and the hymns use as liberation music. According to anthropologist David Coplan: " 'Nkosi Sikelel' iAfrika' has come to symbolize more than any other piece of expressive culture the struggle for African unity and liberation in South Africa." "Nkosi Sikelel' iAfrika" was originally composed as a hymn in 1897 by Enoch Sontonga, a teacher at a Methodist mission school near Johannesburg. Some claim the melody is based on the hymn "Aberystwyth" by Joseph Parry, though others have called the connection far fetched. The words of the first stanza and chorus were originally written in Xhosa as a hymn. In 1927 seven additional Xhosa stanzas were added by the poet Samuel Mqhayi. Sontonga originally composed the hymn in B-flat major with a four-part harmony supporting a repetitive melody characteristic of "both Western hymn composition and indigenous South African melodies." The hymn was taken up by the choir of Ohlange High School, whose co-founder served as the first president of the South African Native National Congress. It was sung to close the Congress meeting in 1912, and by 1925 it had become the official closing anthem of the organisation, now known as the African National Congress."Sikelel' iAfrika" was first published in 1927. The song was the official anthem for the African National Congress during the apartheid era and was a symbol of the anti-apartheid movement. For decades during the apartheid regime it was considered by many to be the unofficial national anthem of South Africa, representing the suffering of the oppressed masses. Because of its connection to the ANC, the song was banned by the regime during the apartheid era. In 1994, after the end of apartheid, the new President of South Africa Nelson Mandela declared that both "Nkosi Sikelel' iAfrika" and the previous national anthem, "Die Stem van Suid-Afrika" (English: "The Call of South Africa") would be national anthems. While the inclusion of "Nkosi Sikelel' iAfrika" celebrated the newfound freedom of most South Africans, the fact that "Die Stem" was also retained even after the fall of apartheid, represented the desire of the new government led by Mandela to respect all races and cultures in an all-inclusive new era dawning upon South Africa. During this period, the custom was to play "Die Stem" together with "Nkosi Sikelel' iAfrika" during occasions that required the playing of a national anthem. In 1996, a shortened, combined version of the two compositions was released as the new national anthem of South Africa under the constitution of South Africa and was adopted the following year. This version uses several of the official languages of South Africa. The first two lines of the first stanza are sung in Xhosa and the last two in Zulu. The second stanza is sung in Sesotho. The third stanza consists of a verbatim section of the former South African national anthem, "Die Stem van Suid-Afrika", and is sung in Afrikaans. The fourth and final stanza, sung in English, is a modified version of the closing lines of "Die Stem van Suid-Afrika". A Swahili version of the hymn with modified lyrics is used as the national anthem of Tanzania under the name of "Mungu ibariki Afrika". Former national anthem: Zambia: The hymn was the national anthem of Zambia from independence in 1964 until 1973 when the lyrics were replaced by "Stand and Sing of Zambia, Proud and Free". Zimbabwe: "Ishe Komborera Africa" was the Zimbabwean version of "God Bless Africa" sung in the Shona and Ndebele languages and was its first national anthem, adopted upon independence in 1980. It was replaced in 1994 by "Ngaikomborerwe Nyika yeZimbabwe/Kalibusiswe Ilizwe LeZimbabwe" (English: "Blessed be the land of Zimbabwe"), but still remains very popular in the country. Namibia: "Nkosi Sikelel' iAfrika" was used provisionally as the national anthem of Namibia at time of the country's independence in March 1990. But soon after, an official contest was organised for a new national anthem. It was won by Axali Doeseb, who wrote "Namibia, Land of the Brave" which was officially adopted on the first anniversary of the country's independence, in 1991. Other countries and organisations: In other African countries throughout southern Africa, the song was sung as part of the anti-colonial movements. It includes versions in Chichewa (Malawi and Zambia). Outside of Africa, the hymn is perhaps best known as the long-time (since 1925) anthem of the African National Congress (ANC), as a result of the global anti-Apartheid Movement of the 1970s and 1980s, when it was regularly sung at meetings and other events. In Finland the same melody is used as the children's psalm "Kuule, Isä taivaan, pyyntö tää" ("Hear, Heavenly Father"). The hymn has appeared in Virsikirja, the hymnbook of the Evangelical Lutheran Church of Finland, with lyrics by Jaakko Löytty. If you require an arrangement not found in my store, let me know your requirements, my rates are very reasonable: keithterrett@gmail.com !1Zp7U!0W7U!WW7U!WW 7U!0W@8U!WW؝8UACopyright © 2009 MFAO (keithterrett@gmail.com) B8U!WWP8UNkosi Sikeleli Africa also known as the African National Anthem arranged for Brass Quintet. Purchase a score from my store, and I will e mail you a free set of pdf parts.4U!1W4U!0W4U!1W4U!0Wp"8U!0.0000W"8U!2021-06-24 16:52:17UAAfrican Anthem for Brass Quintet#8U9#8U@p8U"8U8UDV8U8UD8U8UD8U8UD8U 8UD8U08UD8U@8UD V8UP8UD 8U`8UD@8Up8UD`8Up85U8UD8U8UD8U8UD8U8UD8U8UD 8UЉ8UD@8U6U8UD`8U8UD 8U8UD@8U8UD`8U 8UD8U08UD8U@8UD8UP8UDP8U`8UDp8Up8UD8U8UD8U8UD8U8UD 8U8UD@8U8UD`8UЊ8UD8U8UD8U8UD8U8UD8U8UD8U 8U08U@8UP8U`8Up8UD 8U8UD@8U8UD`8U8UD8U8UDp8U8UD8UЋ8UD8U8UD8U8UD8U'8U{8U0U8UD`8U_85UZ85U 8UD8UP8UD 8U`8UD@8Up8UD`8Ub7U 8U7U2(8UH}8U0 7UD 3U`8UDE8U08UD8U()8U8UЙ58UD 68U58UD@ 68U058UD0<68U8UD 8U@8UD8U8UD8U8UDp8Uc7U  7U*7UDP08U8UD08U8UD08U 8UD18U08UD8U@8UD8UP8UD 8U`8UD@8Up8UD8U8UD8U8UD08U8UD7U8UD@7U8UD`7UЍ8UD7U8UD7U8UD`8U8UD8U8UD8U 8UD8U08UDЄ7U@8UD 8UP8UDp08U`8UD08Up8UD 8U8UD0 8U8UDP 8U8UDp 8U8UD 8U8UD 8U8UD 8U8UD!8U8UD7U8UD7U8UD7U 8UD 7U08UD@7U@8UD0!8UP8UD!8U`8UD"8Up8UD0"8U8UDP"8U8UD`7U8UDp"8U8UD"8U8UD"8Up85U8UD7U8UD 7U8UD@7U8UD`7U8UD7U 8UD7U6U08UD 8U@8UD7UP8UD7U`8UD7Up8UD 7U8UD@7U8UD`7U8UD7U8UD7U8UD7U8UD7U8UD7U8UD07U8UDP7U8UDp7U 8UD7U08UD7U@8UP8UDЅ7U`8UD7Up8U8U8U8U8U8UD7U8UD07U8UDP7U8UD7U8UDЏ7U8UD7U 8UD7U08UD07U@8UD`7UX28U(8U8UD8U_85UZ85Up#8UD 8U38USonata No. 1 & 2 for Solo Viola and Pianolinslin, Viola and Cellolo)Series)Wind Dectetin C (Intermediate/Semi Pro version)7USonata No 1 2 for Solo Violain and Pianolinslin Viola and Cellohem Series Dectets in C IntermediateSemi Pro versionU 7U!71274Wp7UQ© 2007 musicforalloccasins (keithterrett@gmail.com) ed. 2014 & 20Prelude from the Te Deum (Eurovision Song Contest Theme) for Solo Trumpet & Organ w pedals in C (Intermediate/Semi Pro version)8U!41W8B8U!271Wh8U!4Wn8U!3W8U!2020-03-22 05:18:35U!2022-08-08 14:41:53U!Keith TerrettH8U!1692WI8U!0WH8U13W0!sibW4U!250W4U!0W4U1Charpentier4U0An arrangement of Frankie & Johnny for C Trombone, Euphonium or Baritone & Piano. "Frankie and Johnny" (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. Great showstopper for your next performance! U!3.99W!0W!1W!0W!WW!WW!0W!WWaCopyright © 2015 Keith Terrett - All Rights Reserved keithterrett@gmail.comangeScores!WW!0Y8U!0.00W!7.97WB8U!3.98W!0W8U!WWC8U!0.00W8U["62107","60999","77043","61680","169572","169054","8379","58091","29522","361716","169148","55533","56829","62109","134050","361695","361649","99166","62099"]!2020-09-07 03:22:01U!1W8U!2021-01-18 15:12:47U!556232W An arrangement of Frankie & Johnny for C Trombone & Piano. "Frankie and Johnny" (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. @h!0W!0W!1W!0W!WW!0.0000W!2021-01-18 15:07:57!0W!0W!4W!0000-00-00 00:00:00!0W!0WFrankie & Johnny for C Trombone, Euphonium, Baritone & Piano Traditional Arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement of Frankie & Johnny for C Trombone, Euphonium or Baritone & Piano. "Frankie and Johnny" (sometimes spelled "Frankie and Johnnie"; also known as "Frankie and Albert" or just "Frankie") is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. Great showstopper for your next performance! reExchang_85U8U_85U8UC8U`85U8U8Uc`7U8Uf`7U8U25U(8U25U@8U25UX8U 8U c2Up8U"c2U8U(g85U8Ug85U8UW4U8UXf85U8Ue85U8U8Uc85U8UH8UOm2U08Up8U m2UH8U8UX~`2U`8U8U`2Ux8UHb85U8Up8U&_2U8UhAT2U8U8DT2U8U>T2U8UxC8U7U8U4U 8U`8UH5U88U8U(t85UP8Up85Uh8UC8Uj6U8U885U8UI85U8U8U85U8Uxa85U7U85U8U6U@7UB8UH4UЫ7UX2UX7Uh4U8UB8U6U08U6UH8UD8Uh_2UH8U85Up8U885U8U85U`8UP8U^i2Ux8UΌ2U8Un4U868U2UP68UF8U2Uh68U8U5U8U6U8U4U88UPG8U5U8UM8Ux6o3U 8UЀ7U8U 8U(b2UP8U+_2Uh8U,_2U8Uh/_2U8U6U8UG8UX:5U8Ux4U8Uh5o3U8Uh2U8U/_2U(8U 4U@8UJ8U16UX8UPM8U46Up8U=4U8U45U8UH1_2U8U85U8U85U8UXDe3U8U87U8U؝2U08UX85UH8U85U`8U)6Ux8U885U8U85U8U85U8Up,5U8Ux85U8UJ8UH85U8U85U 8UI8U4U88U2UP8UpK8UX2Uh8U85U8UX 85U8UH!85U8U"85U8U3Ux8UH%85U8U(H8U&85U8U(6U8U&85U8UhG85U8U8<25U8UH8U 6U 8UZ85U88UP6UP8U5Uh8UA6U8U)_2U8U54U8U_85U8U_85U8U8M8U`85U8UXH8Uc`7U8Uf`7U(8U25U@8U25UX8U25Up8UxI8U c2U8U"c2U8U(g85U8Ug85U8UW4U8UXf85U 8Ue85U 8UG8Uc85U0 8UK8UOm2UH 8UG8U m2U` 8UK8UX~`2Ux 8UH8U`2U 8UHb85U 8UJ8U&_2U 8UhAT2U 8U8DT2U 8U>T2U 8UM8U7U 8U4U8 8UH8UH5UP 8UL8U(t85Uh 8Up85U 8UM8Uj6U 8U885U 8UI85U 8UHL8U85U 8Uxa85UP7U85U(8U6U8UL8UH4Up7UX2Uؼ7Uh4U7UL8U6UX8U6Up8U0O8Uh_2U68U85U8U885U@8U85U68UI8U^i2U68UΌ2U68Un4U@8U2U@8UP8U2U@8UQ8U5U 8U4UP 8U58U8Ux8U@K8U5U08U8Ux6o3U8 8U6U 8U(b2Uh 8U+_2U 8U,_2U 8Uh/_2U 8UeExchang!0XEPSCoun!0W(8U!59W !A collection of four English hymns/chorales arranged for Brass Quartet. Alternative parts, such as a French Horn to replace Trumpet 2 are available on request. The Day You Gave Us , Lord, is ended St. Clement: St Clement, in 98. 98. meter, is a popular tune to John Ellerton’s hymn The Day Thou Gavest, Lord, is Ended. The tune is generally credited to the Rev. Clement Cotteril Scholefield (1839–1904).[1] It first appeared in Sir Arthur Sullivan’s Church Hymns with Tunes (1874). The Rev. Scholefield was born at Edgbaston, Birmingham[1] and was the youngest son of MP William Scholefield, MP for Birmingham. However, in 2000 the Rev. Ian Bradley, reader in Church History and Practical Theology at St Andrews University and author of The Daily Telegraph Book of Hymns, wrote of a connection between Sullivan, who composed the music for Gilbert and Sullivan’s comic operas and many hymns, among other works both sacred and secular, and Rev. Scholefield. "The two men were good friends while Sullivan was organist at St Peter’s Church, South Kensington, from 1867 to 1872". In his book, Bradley writes: In an article in the Hymn Society Bulletin in 1994 Mervyn Horder, himself a hymn-tune composer, suggested that ’Sullivan almost certainly had a larger hand in St Clement than has been or can ever definitely be, credited to him.’ His starting-point was the fact that this tune stands head and shoulders above the quality of Scholefield’s other work. None of the 41 other hymn-tunes penned by this self-taught musician show anything like the craftsmanship, originality or melodic sweep of St Clement. Onward Christian Soldiers: Sing Praise to the Lord (Laudate Dominum): "Abide with Me": is a Christian hymn by Scottish Anglican Henry Francis Lyte most often sung to English composer William Henry Monk’s tune entitled "Eventide". Lyte wrote the poem in 1847 and set it to music while he lay dying from tuberculosis; he survived only a further three weeks after its completion. Popular use[edit] Religious services: The hymn is popular across many denominations, and was said to be a favourite of King George V and Mahatma Gandhi. It is also often sung at Christian funerals. In the aftermath of the sinking of RMS Titanic, survivors reported that the Titanic’s band played the hymn as the ship was sinking, although detailed studies have identified other songs played by the band. Military services: The hymn is sung at the annual Anzac Day services in Australia and New Zealand, and in some Remembrance Day services in Canada[7] and the United Kingdom. It is also played by the combined bands of the Indian Armed Forces during the annual Beating Retreat ceremony held on 26 January at Vijay Chowk, New Delhi, which officially marks the end of Republic Day celebrations. A choral version of this hymn has been arranged by Moses Hogan. Music: Phrases of the finale of Gustav Mahler’s Symphony No. 9 are often noted for their similarity to Monk’s Eventide. Thelonious Monk recorded an instrumental version of Abide with Me with his jazz septet as the first track of the 1957 album Monk’s Music. In 2006, two different takes of the recording were released on The Complete 1957 Riverside Recordings, an anthology of Thelonious Monk’s work with John Coltrane. The hymn was also set to music around 1890 by the American composer Charles Ives, and was published in his collection Thirteen Songs in 1958, four years after his death. Doris Day recorded this song on her 1962 album "You’ll Never Walk Alone." The pipes and drums of the Royal Scots Dragoon Guards played the hymn in their 2007 album, Spirit Of The Glen. Hayley Westenra recorded the hymn on her third international album, Treasure, and performed it live at various sporting events, including the Rugby League Challenge Cup Final in August 2009. An instrumental version appears on the 2009 David Friesen David Friesen release, Vanishing the Darkness. In 2013, Joe McElderry and the Royal Mail Choir recorded the song, and it was released as a charity single on 14 April 2013, raising money for Prostate Cancer UK. This version reached number 19 in the UK indie charts. At Portora Royal School (the school Henry Francis Lyte attended) the song has become the school’s victory song and is sung at the annual Portora Remembrance Service In sport: Since the 1927 FA Cup Final between Arsenal and Cardiff City, the first and last verses of the hymn are traditionally sung at the FA Cup Final before the kick-off of the match, at around 2.45pm BST. It also featured on the B-side of the The Christians, Holly Johnson, Paul McCartney, Gerry Marsden and Stock Aitken Waterman charity single "Ferry Cross the Mersey" in 1989, which was recorded in memory of the Hillsborough disaster victims. The hymn has been sung prior to the kick-off at every Rugby League Challenge Cup final since 1929, the first final to be held at Wembley Stadium. "Abide with Me" was also sung at the 2012 Summer Olympics opening ceremony, performed by Scottish singer Emeli Sandé. In film and television: Film Shane (1953) TV series Twilight Zone (1962) – In episode The Last Rites of Jeff Myrtlebank Film Fist of Fury (1972) – Played by brass band in funeral scene TV series/Film Scenes from a Marriage (1973) – In episode Innocence and Panic TV series Ripping Yarns (1976–9) – In episode The Testing of Eric Olthwaite Film A Bridge Too Far (1977) – Sung by wounded British paratroopers at a field hospital TV Doctor Who: In episode Kinda (1982) In episode Gridlock (2007) U!A collection of four English hymns/chorales arranged for Brass Quartet. Alternative parts, such as a French Horn to replace Trumpet 2 are available on request. The Day You Gave Us , Lord, is ended St. Clement: St Clement, in 98. 98. meter, is a popular tune to John Ellerton’s hymn The Day Thou Gavest, Lord, is Ended. The tune is generally credited to the Rev. Clement Cotteril Scholefield (1839–1904).[1] It first appeared in Sir Arthur Sullivan’s Church Hymns with Tunes (1874). The Rev. Scholefield was born at Edgbaston, Birmingham[1] and was the youngest son of MP William Scholefield, MP for Birmingham. However, in 2000 the Rev. Ian Bradley, reader in Church History and Practical Theology at St Andrews University and author of The Daily Telegraph Book of Hymns, wrote of a connection between Sullivan, who composed the music for Gilbert and Sullivan’s comic operas and many hymns, among other works both sacred and secular, and Rev. Scholefield. "The two men were good friends while Sullivan was organist at St Peter’s Church, South Kensington, from 1867 to 1872". In his book, Bradley writes: In an article in the Hymn Society Bulletin in 1994 Mervyn Horder, himself a hymn-tune composer, suggested that ’Sullivan almost certainly had a larger hand in St Clement than has been or can ever definitely be, credited to him.’ His starting-point was the fact that this tune stands head and shoulders above the quality of Scholefield’s other work. None of the 41 other hymn-tunes penned by this self-taught musician show anything like the craftsmanship, originality or melodic sweep of St Clement. Onward Christian Soldiers: Sing Praise to the Lord (Laudate Dominum): "Abide with Me": is a Christian hymn by Scottish Anglican Henry Francis Lyte most often sung to English composer William Henry Monk’s tune entitled "Eventide". Lyte wrote the poem in 1847 and set it to music while he lay dying from tuberculosis; he survived only a further three weeks after its completion. Popular use[edit] Religious services: The hymn is popular across many denominations, and was said to be a favourite of King George V and Mahatma Gandhi. It is also often sung at Christian funerals. In the aftermath of the sinking of RMS Titanic, survivors reported that the Titanic’s band played the hymn as the ship was sinking, although detailed studies have identified other songs played by the band. Military services: The hymn is sung at the annual Anzac Day services in Australia and New Zealand, and in some Remembrance Day services in Canada[7] and the United Kingdom. It is also played by the combined bands of the Indian Armed Forces during the annual Beating Retreat ceremony held on 26 January at Vijay Chowk, New Delhi, which officially marks the end of Republic Day celebrations. A choral version of this hymn has been arranged by Moses Hogan. Music: Phrases of the finale of Gustav Mahler’s Symphony No. 9 are often noted for their similarity to Monk’s Eventide. Thelonious Monk recorded an instrumental version of Abide with Me with his jazz septet as the first track of the 1957 album Monk’s Music. In 2006, two different takes of the recording were released on The Complete 1957 Riverside Recordings, an anthology of Thelonious Monk’s work with John Coltrane. The hymn was also set to music around 1890 by the American composer Charles Ives, and was published in his collection Thirteen Songs in 1958, four years after his death. Doris Day recorded this song on her 1962 album "You’ll Never Walk Alone." The pipes and drums of the Royal Scots Dragoon Guards played the hymn in their 2007 album, Spirit Of The Glen. Hayley Westenra recorded the hymn on her third international album, Treasure, and performed it live at various sporting events, including the Rugby League Challenge Cup Final in August 2009. An instrumental version appears on the 2009 David Friesen David Friesen release, Vanishing the Darkness. In 2013, Joe McElderry and the Royal Mail Choir recorded the song, and it was released as a charity single on 14 April 2013, raising money for Prostate Cancer UK. This version reached number 19 in the UK indie charts. At Portora Royal School (the school Henry Francis Lyte attended) the song has become the school’s victory song and is sung at the annual Portora Remembrance Service In sport: Since the 1927 FA Cup Final between Arsenal and Cardiff City, the first and last verses of the hymn are traditionally sung at the FA Cup Final before the kick-off of the match, at around 2.45pm BST. It also featured on the B-side of the The Christians, Holly Johnson, Paul McCartney, Gerry Marsden and Stock Aitken Waterman charity single "Ferry Cross the Mersey" in 1989, which was recorded in memory of the Hillsborough disaster victims. The hymn has been sung prior to the kick-off at every Rugby League Challenge Cup final since 1929, the first final to be held at Wembley Stadium. "Abide with Me" was also sung at the 2012 Summer Olympics opening ceremony, performed by Scottish singer Emeli Sandé. In film and television: Film Shane (1953) TV series Twilight Zone (1962) – In episode The Last Rites of Jeff Myrtlebank Film Fist of Fury (1972) – Played by brass band in funeral scene TV series/Film Scenes from a Marriage (1973) – In episode Innocence and Panic TV series Ripping Yarns (1976–9) – In episode The Testing of Eric Olthwaite Film A Bridge Too Far (1977) – Sung by wounded British paratroopers at a field hospital TV Doctor Who: In episode Kinda (1982) In episode Gridlock (2007) UA{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":234,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"57C1A01E-1629-11E7-83CE-A82770081DB8","position-x-pc":"0"} !0W!150W!117W7U7U7Up8U88U7U7U7UX7UP7Uؚ7UH7U8U7U87U7Ux7U#8U8U8UH7UȞ7U7U7U7U8U@7U7U7Uh7U@7U7U7U8UX7Uț7U7U8U8U7UМ7Up7UP7U7U08U7U7UH8U`8U7U7U 7U8U7U(8U`7U 8U@8Ux8U7UP8U7U8UH8U8U7Up7U؝7U(7U07U8U7U7U8U7U8U8U7U!2023-04-09 06:48:33U!1738468W!2420198W!0000-00-00 00:00:00!0000-00-00 00:00:00Q7U1%2UȆ8UH8z164321{"width":300,"position-y-pc":"64","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[{"y":126,"width":29,"x":95,"center-y":143.5,"height":35,"center-x":109.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":225,"position-x-combined":"37%","position-x":"left","position-y":"bottom","position-y-combined":"64%","average-center-x":109.5,"average-center-y":143.5,"id":"C63789E2-160A-11E7-AF79-EB118111F864","position-x-pc":"37"}def000!1W!300W!225W 7U8U7U7U7UȤ7U7UШ7U7U7U7U7UH7UH7Up7U7U7U#8U7U7U7U7U@7U87U7U7Ux7UХ7U7U7Ux7UP7UP7U7U`8U7U(7U87U7U7U7U7U7U7U7Uȧ7U87UТ7U7U@7U7UX7Ux7U8U7U7U7Uȡ7U7UH7Uؠ7U7Uh7UП7U(7U7Ux8U7U`7Uh7UH7Uئ7U 7U7U7UX7U7U07U!0^Ѝ8U!1W!650x839W!0W!0W!5.00W!2023-04-28 23:14:15!2023-04-28 23:15:24!4508523W!7153919W!0000-00-00 00:00:00!0000-00-00 00:00:00n4UX8U2Up8U07U2U8U7U5U7U6U8U4U8U8U5U(8Ux8Ux6o3Ux8UF8Uȟ8U8U(b2U8U+_2U8U,_2Uؔ8Uh/_2U8U6U8U8UX:5U 8Ux4U88Uh5o3UP8Uh2Uh8U/_2U8U 4U8Ux8U16U8U8U46Uȕ8U=4U8U45U8UH1_2U8U85U(8U85U@8UXDe3UX8U87Up8U؝2U8UX85U8U85U8U)6UЖ8U885U8U85U8U85U8Up,5U08Ux85UH8Uh8UH85U`8U85Ux8UH8U4U8U2U8U8UX2U8U85Uؗ8UX 85U8UH!85U8U"85U 8U3U88UH%85UP8U8U&85Uh8U(6U8U&85U8UhG85U8U8<25UȘ8U8U 6U8UZ85U8UP6U8U5U(8UA6U@8U)_2UX8U54Up8U_85U8U_85U8U8U`85U8UȐ8Uc`7UЙ8Uf`7U8U25U8U25U8U25U08U8U c2UH8U"c2U`8U(g85Ux8Ug85U8UW4U8UXf85U8Ue85Uؚ8Uh8Uc85U8U8UOm2U8U88U m2U 8U8UX~`2U88UX8U`2UP8UHb85Uh8U88U&_2U8UhAT2U8U8DT2U8U>T2Uț8U 8U7U8U4U8U(8UH5U8Up8U(t85U(8Up85U@8Uh8Uj6UX8U885Up8UI85U8U8U85U8Uxa85U)8U85U7U6U7U`8UH4U7UX2U7Uh4U7U08U6U(7U6U@7U8Uh_2U8U85Uh7U885U7U85U8U8U^i2UМ8UΌ2U8Un4U8U2U8U88U2U08U8U5UP8U($8U8U6U88U8U5U8UB8Ux6o3U8U4U8U(b2U8U+_2U8U,_2U8Uh/_2U8U6U08U@8UX:5UH8Ux4U`8Uh5o3Ux8Uh2U8U/_2U8U 4U8U8U16U8UC8U46U8U=4U8U45U 8UH1_2U88U85UP8U85Uh8UXDe3U8U87U8U؝2U8UX85U8U85U8U)6U8U885U8U85U(8U85U@8Up,5UX8Ux85Up8U8UH85U8U85U8U8U4U8U2U8U8UX2U8U85U8UX 85U8UH!85U08U"85UH8U3U`8UH%85Ux8UК8U&85U8U(6U8U&85U8UhG85U8U8<25U8U08U 6U8UZ85U 8UP6U88U5UP8UA6Uh8U)_2U8U54U8UeScoresQ8U1ȟ8UgD90081-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk-\4Uk?7UP7U?7U7U4U f:2U?7U07U?7UЂ7UJ@5UJ@5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U;5U?7U2U?7U 8U?7U 2UH.&2UH.&2U?7U3U?7U 8U@2U @2U ?7U0 8U4U4UXN85U-\4UlXN85UXN85UXN85UXN85UXN85UXN85UXN85UXN85UXN85U?7U8U 8U!545517[ores WHEQThe Maid of the Mist for Solo Bb Cornet & Wind Dectet.sib8UqThe Maid of The Mist for Bb Cornet (Trumpet, Flugel, Baritone, Euphonium TC) & Wind DectetU7U!17W7U!0Wh7U!4Wr7U!2W@7U!2020-12-15 16:08:15U!2024-02-02 01:38:12UABy Herbert Lincoln Clarke Arranged by Keith TerrettU!Keith TerrettP8U11912W0!sibW B8U!250W8Y!0W!2020-12-15 16:08:15!0W!722W!0W!2020X!4W!8.00HX!0W!1W!0W!WW !13[8U!3W7U!2W7U!2021-01-18 15:05:53U!2021-01-18 15:14:04U1Traditional Arranged by Keith Terrett!Keith Terrettp8U!0WК8U!2015W !sibWX7U!250W7U!0Wp7UAFrankie & Johnny for C Trombone & Piano.sibUXN8U!2021-01-18 15:05:53U!0WY!1563W8U!0W B8U!0X8U!18X8U!2017-03-31 17:01:51U!2021-01-18 15:14:03U!0000-00-00 00:00:00U!WW8U!622743W8U10WȜ8U0!3HX4U!1.99(X4U!2021-01-18 15:05:55U!1W4U!0W !1.50X8U!2014-12-19 06:17:22U!1W08U!0W8U!0Wؒ8U!0XX8U!0W8U11W8U0 An arrangement of For all the Saints (Sine Nomine) for Brass Quintet & Percussion, for use on All Saint's Day. All Saints' Day, also known as All Hallows' Day,the Feast of All Saints,[4][5] the Feast of All Hallows,[6] the Solemnity of All Saints,[6] and Hallowmas, is a Christian solemnity celebrated in honour of all the saints of the Church, whether they are known or unknown. From the 4th century, feasts commemorating all Christian martyrs were held in various places,[3] on various dates near Easter and Pentecost. In the 9th century, some churches in the British Isles began holding the commemoration of all saints on 1 November, and in the 9th century this was extended to the whole Catholic Church by Pope Gregory IV.[10] In Western Christianity, it is still celebrated on 1 November by the Roman Catholic Church as well as many Protestant churches, such as the Lutheran, Anglican, and Methodist traditions. The Eastern Orthodox Church and associated Eastern Catholic and Eastern Lutheran churches celebrate it on the first Sunday after Pentecost.] The Syro-Malabar Church and the Chaldean Catholic Church, both of which are in communion with Rome, as well as the Church of the East, celebrate All Saints' Day on the first Friday after Easter Sunday. In the Coptic Orthodox tradition, All Saints' Day is on Nayrouz, celebrated on 11 September. The day is the start of the Coptic new year, and of its first month, Thout. There is a sparlking Piccolo Trumpet descant in the last verse. ’’For All the Saints" was written as a processional hymn by the Anglican Bishop of Wakefield, William Walsham How. The hymn was first printed in Hymns for Saint’s Days, and Other Hymns, by Earl Nelson, 1864. The hymn was sung to the melody Sarum, by Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, November 1, or the first Sunday in November, All Saints Sunday in the Lutheran Church. It has been described as "one of the finest hymn tunes of [the 20th] century. While most English hymn tunes of its era are written for singing in SATB four-part harmony, Sine Nomine is primarily unison (verses 1,2,3,7 and 8) with organ accompaniment; just three verses (4, 5 and 6) are set in sung harmony. The tune appears in this forms in most English hymnbooks (for example English Hymnal (641), New English Hymnal (197), Common Praise (232)) and American hymnals (for example, The Hymnal 1982 and the Lutheran Service Book (677). Since the 1990s, Some Presbyterian churches and groups affiliated with Reformed University Fellowship in the United States use a tune composed by Christopher Miner. Sir Charles Villiers Stanford’s tune Engleberg was also written to be partnered with this hymn, although in the wake of Sine nomine it never gained popularity and is now more commonly used with other hymns, including "When in our music God is glorified.8U!0Y !WW?Q© 2013 www.musicforalloccasions.org,uk (keithterrett@gmail.com)!WW !0HY!WW8U!0.0000W!2014-12-19 06:20:35aFor all the Saints Sine Nomine for Brass Quintet Percussion All Saints Day !0W !0W0v8U!9W8U!0000-00-00 00:00:00!0W !0W 6U 8UQ8UX:5U 8Ux4U 8Uh5o3U8Uh2U(8U/_2U@8U 4UX8U8U16Up8UX8U46U8U=4U8U45U8UH1_2U8U85U8U85U8UXDe3U8U87U08U؝2UH8UX85U`8U85Ux8U)6U8U885U8U85U8U85U8Up,5U8Ux85U8U8UH85U 8U85U88U8U4UP8U2Uh8Ux8UX2U8U85U8UX 85U8UH!85U8U"85U8U3U8UH%85U8U08U&85U(8U(6U@8U&85UX8UhG85Up8U8<25U8U8U 6U8UZ85U8UP6U8U5U8UA6U8U)_2U8U54U08U_85UH8U_85U`8U@8U`85Ux8U`8Uc`7U8Uf`7U8U25U8U25U8U25U8U8U c2U8U"c2U 8U(g85U88Ug85UP8UW4Uh8UXf85U8Ue85U8U0R8Uc85U8U8UOm2U8UR8U m2U8U8UX~`2U8U8U`2U8UHb85U(8U8U&_2U@8UhAT2UX8U8DT2Up8U>T2U8U8U7U8U4U8U8UH5U8U8U(t85U8Up85U8U8Uj6U8U885U08UI85UH8UP8U85U`8Uxa85U7U85UX=7U6U8U8UH4UX8UX2Up=7Uh4UH8U8U6U8U6U8U88Uh_2UA8U85U8U885U8U85UA8U8U^i2U0A8UΌ2UHA8Un4U8U2U8U8U2U8U8U5U8U4U8U=8U@$8UH8U5UH 8UH8Ux6o3U8U6U8U(b2U08U+_2UH8U,_2U`8Uh/_2Ux8U6U8U8UX:5U8Ux4U8Uh5o3U8Uh2U8U/_2U8U 4U 8UH8U16U88U8U46UP8U=4Uh8U45U8UH1_2U8U85U8U85U8UXDe3U8U87U8U؝2U8UX85U(8U85U@8U)6UX8U885Up8U85U8U85U8Up,5U8Ux85U8U88UH85U8U85U8U8U4U8U2U08U8UX2UH8U85U`8UX 85Ux8UH!85U8U"85U8U3U8UH%85U8Uh8U&85U8U(6U 8U&85U 8UhG85U8 8U8<25UP 8U8U 6Uh 8UZ85U 8UP6U 8U5U 8UA6U 8U)_2U 8U54U 8U_85U!8U_85U(!8Ux8U`85U@!8U8Uc`7UX!8Uf`7Up!8U25U!8U25U!8U25U!8U8U c2U!8U"c2U!8U(g85U"8Ug85U"8UW4U0"8Uand it w!1.60X@8U!2019-12-25 13:17:42U!1W8U!0W8U!0Wp8U!0X8U!0WHR8U11W(8U0!0[08U!WWQ© 2013 Music for all Occasions (keithterrett@gmail.com)and last verses!WW!2022-05-27 16:30:11U!0000-00-00 00:00:00!WW(8U!760005W!1Wp8U!3W@8U!8.00WHR8U!5.00W88U!8.00W8U!5.00W8U!0W8U!0Wp8U!1W!0WX8U!1W10W(8UP8U0!0Yperforme!WWli Sand!0.0000Wsion: !2019-12-25 13:19:42s TwaIndian National Anthem for Brass Quintet MFAO World National Anthem Seriesry (1972) !0Wn funera!0WScenes f!5W In epi!0000-00-00 00:00:00 ser!0W9) –!0Wof Eric !0XX Too Far!0Wded Brit!0Weld hosp!0W episode12017-03-31 15:43:37idlock (20070!1.50X8U!2022-07-29 13:15:23U!1W8U!0WX8U!0WH8U!0X8U!0W8U11W8U0Q© 2014 www.musicforalloccasions.org.uk keithterrett@gmail.com, the hy!WW!2017-06-09 17:10:17U!0000-00-00 00:00:00!WWP7U!68429W!0WH8U!3Wh7U!7.00W8U!3.00W`7U!7.00Wx8U!3.00W8U!0W8U!WW7U!0.00W!0X7U!5.00W12023-04-09 06:47:49Ux7U0!0Z.xml":[]!0hZ-x-combi!0W:"left",!0Wtion-y-c!0Wcenter-x!2017-03-31 16:47:17":"0["95548","66817","34306","96875","46577","24379","106045","78918","6327","87837","23506","32624","126789","106046","95306","96877","23508","56445","6437","129595"]8183!2020-09-12 14:52:20"140!1W75247","!2019-09-25 13:28:52","6108A4000C-DF90-11E9-9A5B-7830"]2020-09-!4908W 13:04:3!0W0-66A19A!0W0x4580!0W182023-!1W2632380!650x458W00-00 00!0W QAfrican Anthem for Brass Quintet Enoch Sontonga Keith Terrett Music for all Occasions The African Anthem arranged for Classical Brass Quintet. This is not an anthem for a nation, but for a whole continent. Originating with the Bantu people in South Africa, it is now sung throughout Africa in various languages. The melody is also used by Zambia, South Africa and Tanzania in their respective National Anthems. "Nkosi Sikelel' iAfrika" (Xhosa pronunciation: [ŋkʼɔsi sikʼɛlɛl‿iafrikʼa], lit. 'Lord Bless Africa') is a Christian hymn originally composed in 1897 by Enoch Sontonga, a Xhosa clergyman at a Methodist mission school near Johannesburg. The song became a pan-African liberation song and versions of it were later adopted as the national anthems of five countries in Africa including Zambia, Tanzania, Namibia and Zimbabwe after independence. Zimbabwe and Namibia have since adopted new compositions for their national anthems. The song's melody is currently used as the national anthem of Tanzania and the national anthem of Zambia. In 1994, Nelson Mandela decreed that the verse be embraced as a joint national anthem of South Africa, with a revised version including elements of "Die Stem" (the then co-state anthem inherited from the previous apartheid government) adopted in 1997. The hymn has often been considered the "African national anthem" due to its reverence of the African continent and the hymns use as liberation music. According to anthropologist David Coplan: " 'Nkosi Sikelel' iAfrika' has come to symbolize more than any other piece of expressive culture the struggle for African unity and liberation in South Africa." "Nkosi Sikelel' iAfrika" was originally composed as a hymn in 1897 by Enoch Sontonga, a teacher at a Methodist mission school near Johannesburg. Some claim the melody is based on the hymn "Aberystwyth" by Joseph Parry, though others have called the connection far fetched. The words of the first stanza and chorus were originally written in Xhosa as a hymn. In 1927 seven additional Xhosa stanzas were added by the poet Samuel Mqhayi. Sontonga originally composed the hymn in B-flat major with a four-part harmony supporting a repetitive melody characteristic of "both Western hymn composition and indigenous South African melodies." The hymn was taken up by the choir of Ohlange High School, whose co-founder served as the first president of the South African Native National Congress. It was sung to close the Congress meeting in 1912, and by 1925 it had become the official closing anthem of the organisation, now known as the African National Congress."Sikelel' iAfrika" was first published in 1927. The song was the official anthem for the African National Congress during the apartheid era and was a symbol of the anti-apartheid movement. For decades during the apartheid regime it was considered by many to be the unofficial national anthem of South Africa, representing the suffering of the oppressed masses. Because of its connection to the ANC, the song was banned by the regime during the apartheid era. In 1994, after the end of apartheid, the new President of South Africa Nelson Mandela declared that both "Nkosi Sikelel' iAfrika" and the previous national anthem, "Die Stem van Suid-Afrika" (English: "The Call of South Africa") would be national anthems. While the inclusion of "Nkosi Sikelel' iAfrika" celebrated the newfound freedom of most South Africans, the fact that "Die Stem" was also retained even after the fall of apartheid, represented the desire of the new government led by Mandela to respect all races and cultures in an all-inclusive new era dawning upon South Africa. During this period, the custom was to play "Die Stem" together with "Nkosi Sikelel' iAfrika" during occasions that required the playing of a national anthem. In 1996, a shortened, combined version of the two compositions was released as the new national anthem of South Africa under the constitution of South Africa and was adopted the following year. This version uses several of the official languages of South Africa. The first two lines of the first stanza are sung in Xhosa and the last two in Zulu. The second stanza is sung in Sesotho. The third stanza consists of a verbatim section of the former South African national anthem, "Die Stem van Suid-Afrika", and is sung in Afrikaans. The fourth and final stanza, sung in English, is a modified version of the closing lines of "Die Stem van Suid-Afrika". A Swahili version of the hymn with modified lyrics is used as the national anthem of Tanzania under the name of "Mungu ibariki Afrika". Former national anthem: Zambia: The hymn was the national anthem of Zambia from independence in 1964 until 1973 when the lyrics were replaced by "Stand and Sing of Zambia, Proud and Free". Zimbabwe: "Ishe Komborera Africa" was the Zimbabwean version of "God Bless Africa" sung in the Shona and Ndebele languages and was its first national anthem, adopted upon independence in 1980. It was replaced in 1994 by "Ngaikomborerwe Nyika yeZimbabwe/Kalibusiswe Ilizwe LeZimbabwe" (English: "Blessed be the land of Zimbabwe"), but still remains very popular in the country. Namibia: "Nkosi Sikelel' iAfrika" was used provisionally as the national anthem of Namibia at time of the country's independence in March 1990. But soon after, an official contest was organised for a new national anthem. It was won by Axali Doeseb, who wrote "Namibia, Land of the Brave" which was officially adopted on the first anniversary of the country's independence, in 1991. Other countries and organisations: In other African countries throughout southern Africa, the song was sung as part of the anti-colonial movements. It includes versions in Chichewa (Malawi and Zambia). Outside of Africa, the hymn is perhaps best known as the long-time (since 1925) anthem of the African National Congress (ANC), as a result of the global anti-Apartheid Movement of the 1970s and 1980s, when it was regularly sung at meetings and other events. In Finland the same melody is used as the children's psalm "Kuule, Isä taivaan, pyyntö tää" ("Hear, Heavenly Father"). The hymn has appeared in Virsikirja, the hymnbook of the Evangelical Lutheran Church of Finland, with lyrics by Jaakko Löytty. If you require an arrangement not found in my store, let me know your requirements, my rates are very reasonable: keithterrett@gmail.com SE::Scor{"width":300,"position-y-pc":"18","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":21,"width":38,"x":157,"center-y":40,"height":38,"center-x":176}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":21,"width":40,"x":157,"center-y":41,"height":40,"center-x":177}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":226,"position-x-combined":"59%","position-x":"center","position-y":"top","position-y-combined":"top","average-center-x":176.5,"average-center-y":40.5,"id":"60BEE3DC-162B-11E7-AFC2-F5AA9C5DC018","position-x-pc":"59"}U8U!2W!1880W!2395W`8U G8UxF8U88U8U8U88U0F8UC8UE8UpB8U8U8UF8UE8U08UE8U#8U؛8UH8UD8U`F8UE8UD8UF8UX8UF8U0C8UHC8UF8UC8UD8U8UН8UF8U`C8UE8Ux8U8U D8UhD8UD8UB8UXE8U8U(E8Ux8U8U(8UB8UHF8UE8U8U8G8U8U؞8U8U8U@8UC8U8U 8U8UX8Uh8U@E8UG8UpE8UF8UD8U8U8D8UD8U8UPD8U8UȜ8UC8U8U19F0B8DB4-599F-11EB-ADD1-788383FEA0E1ang!0W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-04-06 06:02:53!2023-04-06 06:03:53!4394619W!3995552W!0000-00-00 00:00:00!0000-00-00 00:00:008UP8UK8UD8UK8UD7UK8UD#8UK8UD0$8UK8UDP$8UL8UDp$8Up85UL8UD%8U L8UD %8U0L8UD@%8U@L8UD`%8UPL8UD%8U`L8UD%8U6UpL8UD 8UL8UD7UL8UD 7UL8UDPl7UL8UDpl7UL8UDl7UL8UD 8UL8UD`8UL8UD8UM8UD8UM8UD%8U M8UD%8U0M8UD&8U@M8UD &8UPM8UD@&8U`M8UD`&8UpM8UD!8UM8UD!8UM8UD!8UM8UD"8UM8UD "8UM8UD@"8UM8UD`"8UM8UD"8UM8UD"8UN8UD"8UN8UD"8U N8UD#8U0N8UDЭ8U@N8UD8UPN8UD8U`N8UD8UpN8UD8UN8UD8U 8U8U 8UG3U 8UH3U0 8UG3UH 8UJ3UD 8Ux 8U`3U 8U)f3U`8U #8U7U2 8U8U"8U"pz8UD 8U8UDp8U8 8U8UD8U-78UD@78U-78UDA78UD78UD =58U8UD8U8UD8U8UD8Uз8UD08U8U  @58U+7UD8UO8UDP8UO8UD8UO8UD8UO8UD8UO8UD8UO8UD08UO8UDP8UP8UD8UP8UD 8U P8UD@8U0P8UD8U@P8UD`8UPP8UD8U`P8UD8UpP8UD8UP8UDp8UP8UD8UP8UD8UP8UD8UP8UD8UP8UD 8UP8UD 8UP8UD@8UQ8UD`8UQ8UD8U Q8UD8U0Q8UD8U@Q8UD@8UPQ8UD`8U`Q8UD 8UpQ8UD8UQ8UD08UQ8UDP8UQ8UDp8UQ8UD8UQ8UD8UQ8UD 08UQ8UD8UQ8UD8UR8UD8UR8UD8U R8UD 8U0R8UD@8U@R8UD`8UPR8UD8Up85U`R8UD8UpR8UD8UR8UD 8UR8UD@8UR8UD`8UR8UD8U6UR8UD 8UR8UD8UR8UD8UR8UD8US8UD8US8UD 8U S8UD28U0S8UD48U@S8UD58UPS8UD 58U`S8UD8UpS8UD8US8UD08US8UDP8US8UDp8US8UD8US8UD8US8UD8US8UD8US8UD8UT8UD08UT8UDP8U T8UDp8U0T8UD8U@T8UD8UPT8UD8U`T8UDP98UpT8UDp98UT8UD98UT8UD@:8UT8UD`:8U8UD:8U8UD:8U8UD:8Uh8U 8U@P3UD3U8U8U8U)f3U3UD7U3UD3U8UU3U8U)f3U8U <8U& PQG8U18Un169610!140617[8UQIndian National Anthem for Brass Quintet (SMP Press).sibR8UaIndian National Anthem for Brass Quintet (MFAO World National Anthem Series)g7U!9Wr7U!0W87U!3W7U!2W07U!2019-12-25 13:17:41U!2023-04-08 03:58:59UAComposed by Rabindranath Tagore (1861-1941) 8U!Keith TerrettHR8U11911W0!sibWP8U!250Wpd8U!0Wx8U!2019-12-25 13:17:41U!3W|8U!4553W07U!3Wȶ7U!2013X8U!2W`8U!3.00hX4U!0W4U!1W4U!0W4U!WW4U!WW aPrelude from the Te Deum for Solo BbTrumpet & Organ (Intermediate-version).sibgeScores!2020-03-22 05:18:35!3W!2150W!2W!1.50X8J8U!2020-03-22 05:18:36U!1WI8U!0WxI8U!120948WhJ8U!17UH8U!0WH8U11W J8U0An arrangement of Charpentier’s Trumpet Prelude from the Te Deum of 1690, set for solo Trumpet and Organ in C, in a great key to suit semi pro players and students, not yet ready for the demands on the embouchure of the professional versions which lie in a higher tessitura. Parts in a variety of transpositions are available on request: keithterrett@gmail.com Marc-Antoine Charpentier composed six Te Deums, although only four of them have survived. Largely because of the great popularity of its prelude, the best known is the Te Deum in D major, H. 146, written as a grand motet for soloists, choir, and instrumental accompaniment probably between 1688 and 1698, during Charpentier's stay at the Jesuit Church of Saint-Louis in Paris, where he held the position of musical director. It is thought that the composition was performed to mark the victory celebrations and the Battle of Steinkirk in August, 1692. s,!3.00W!0W!1W!0W!WW!WW!0W!WW!WW!6.00Y8J8U!3.00W!6.00W M8U!3.00W!0WhJ8U!0W8M8U!1WH8U!0W0L8U!1WJ8U!0WI8U!WWI8U!0.00WhM8UQpQ8UA#8U y50513@{ "GroupOrd" : "140", "StoreGroupOrd" : "140", "StoreGroupID" : "3047", "GroupID" : "22222" } osition-y-com!0.0000Wnter-x":!2020-03-22 05:19:55,"idPrelude from the Te Deum Eurovision Song Contest Theme for Solo Trumpet Organ w pedals in C IntermediateSemi Pro version8.004.000!0W"49716",!0W"144018"!6W","27632!2013-04-13 01:04:014457!0W","52876!0W10:58:28!2020-03-22 05:35:11BC8-!0000-00-00 00:00:0010!WW04-17 11!58543W0113008!1W:00:00013W0!2024-01-26 02:17:36U!0000-00-00 00:00:00!WW8U!4333W!1Wؒ8U!3W8U!8.00W8U!4.00W8U!8.00W8U!4.00Wp8U!0W08U!WWؕ8U!0.00WQ8U!0000-00-00 00:00:00An arrangement of For all the Saints (Sine Nomine) for Brass Quintet & Percussion. There is a sparlking Piccolo Trumpet descant in the last verse. ’’For All the Saints" was written as a processional hymn by the Anglican Bishop of Wakefield, William Walsham How. The hymn was first printed in Hymns for Saint’s Days, and Other Hymns, by Earl Nelson, 1864. The hymn was sung to the melody Sarum, by Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, November 1, or the first Sunday in November, All Saints Sunday in the Lutheran Church. It has been described as "one of the finest hymn tunes of [the 20th] century. While most English hymn tunes of its era are written for singing in SATB four-part harmony, Sine Nomine is primarily unison (verses 1,2,3,7 and 8) with organ accompaniment; just three verses (4, 5 and 6) are set in sung harmony. The tune appears in this forms in most English hymnbooks (for example English Hymnal (641), New English Hymnal (197), Common Praise (232)) and American hymnals (for example, The Hymnal 1982 and the Lutheran Service Book (677). Since the 1990s, Some Presbyterian churches and groups affiliated with Reformed University Fellowship in the United States use a tune composed by Christopher Miner. Sir Charles Villiers Stanford’s tune Engleberg was also written to be partnered with this hymn, although in the wake of Sine nomine it never gained popularity and is now more commonly used with other hymns, including "When in our music God is glorified.U For all the Saints (Sine Nomine) for Brass Quintet & Percussion (All Saint's Day) Ralph Vaughan Williams Arranged Keith Terrett Keith Terrett Music for all Occasions An arrangement of For all the Saints (Sine Nomine) for Brass Quintet & Percussion, for use on All Saint's Day. All Saints' Day, also known as All Hallows' Day,the Feast of All Saints,[4][5] the Feast of All Hallows,[6] the Solemnity of All Saints,[6] and Hallowmas, is a Christian solemnity celebrated in honour of all the saints of the Church, whether they are known or unknown. From the 4th century, feasts commemorating all Christian martyrs were held in various places,[3] on various dates near Easter and Pentecost. In the 9th century, some churches in the British Isles began holding the commemoration of all saints on 1 November, and in the 9th century this was extended to the whole Catholic Church by Pope Gregory IV.[10] In Western Christianity, it is still celebrated on 1 November by the Roman Catholic Church as well as many Protestant churches, such as the Lutheran, Anglican, and Methodist traditions. The Eastern Orthodox Church and associated Eastern Catholic and Eastern Lutheran churches celebrate it on the first Sunday after Pentecost.] The Syro-Malabar Church and the Chaldean Catholic Church, both of which are in communion with Rome, as well as the Church of the East, celebrate All Saints' Day on the first Friday after Easter Sunday. In the Coptic Orthodox tradition, All Saints' Day is on Nayrouz, celebrated on 11 September. The day is the start of the Coptic new year, and of its first month, Thout. There is a sparlking Piccolo Trumpet descant in the last verse. ’’For All the Saints" was written as a processional hymn by the Anglican Bishop of Wakefield, William Walsham How. The hymn was first printed in Hymns for Saint’s Days, and Other Hymns, by Earl Nelson, 1864. The hymn was sung to the melody Sarum, by Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, November 1, or the first Sunday in November, All Saints Sunday in the Lutheran Church. It has been described as "one of the finest hymn tunes of [the 20th] century. While most English hymn tunes of its era are written for singing in SATB four-part harmony, Sine Nomine is primarily unison (verses 1,2,3,7 and 8) with organ accompaniment; just three verses (4, 5 and 6) are set in sung harmony. The tune appears in this forms in most English hymnbooks (for example English Hymnal (641), New English Hymnal (197), Common Praise (232)) and American hymnals (for example, The Hymnal 1982 and the Lutheran Service Book (677). Since the 1990s, Some Presbyterian churches and groups affiliated with Reformed University Fellowship in the United States use a tune composed by Christopher Miner. Sir Charles Villiers Stanford’s tune Engleberg was also written to be partnered with this hymn, although in the wake of Sine nomine it never gained popularity and is now more commonly used with other hymns, including "When in our music God is glorified.7!0^<8U!0W!28W!13W!2017-03-31 16:00:15{"width":263,"position-y-pc":"13","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":19,"width":39,"x":55,"center-y":38.5,"height":39,"center-x":74.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":74.5,"average-center-y":38.5,"id":"C5BA51A8-1622-11E7-8CF3-9C7A1DD31675","position-x-pc":"28"}coreExchange18!1W!527W!600W(8Uș8U 8U8Uȓ8UД8U8Uؘ8U8U8U8U8UP8UP8Ux8U8U8U#8U8U8U8U8UH8U@8U8U 8U8Uؕ8U8U8U8UX8UX8U8U8U8U08U@8U8UȖ8U8U8U8U8U8UЗ8U@8Uؒ8U8UH8U8U`8U8U(8U8U8U8UБ8U8UP8U8U8Up8U؏8U08U8U8U8Uh8Up8UP8U8U(8U8U8U`8U8U88Udefloni["55027","60755","49716","30694","60774","67329","144018","99185","60773","130391","27632","85276","39451","27033","144578","4070","29134","74289","528762","517992"]di!2020-09-17 10:58:28!1W!2019-09-25 13:21:56110D69BC8-DF8F-11E9-AFAE-78hangese!67248W!0W!0W!1W!0W!1W!650x502W!0W!0W!5.00W!2023-04-17 11:38:31!2023-04-17 11:39:01!1300819W!2223307W!0000-00-00 00:00:00!0000-00-00 00:00:00 $(NP  BH(0jp{Z`)0$( MP8@,0  8@KP*07U!2017-11-22 17:04:21!7.95HXX 8U!1W8U!0W8U!0W!WW !0X7Uq{ "GroupOrd" : null, "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "0" } !0.0000W7U!2015-03-16 13:54:12UAPachelbels Kanon for Brass Octet7U@APachelbel’s Canon, also known as Canon in D major (PWC 37, T. 337, PC 358), is the most famous piece of music by German Baroque composer Johann Pachelbel. It was originally scored for three violins and basso continuo and paired with a gigue in the same key. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919, the piece became extremely popular, and today it is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as Air on the G String by Johann Sebastian Bach’s Air on the G String. Johann Pachelbel’s beautiful interweaving of melody and harmony,one of the great works of music! ions. A!6.00W!0W!1W!0W!WW!WW!0W!WW!WW!WW!0Y7U!WW!0.00W7U["31848","94364","39408","116462","35253","9177","101587","99812","117184","116250","50021","49113","114496","196217","89530","179225","41742","99456","95586","100643"]7U7U!2020-09-09 14:31:25U!1W(7U!2019-09-25 12:56:43U18AD9EAD2-DF8B-11E9-BB4F-787U`7U!15724W7U!0WX7U!0W Pahelbel’s Kanon arranged for Brass Octet. History of composition and publication: Although Pachelbel was renowned in his lifetime for his chamber works (contemporary sources praise his serenades and sonatas), most of them were lost. Only Musikalische Ergötzung, a collection of partitas published during Pachelbel’s lifetime, is known, and a few isolated pieces in manuscripts. Canon and Gigue in D major is one of such pieces. A single manuscript copy of it survives, Mus.MS 16481 in the Berlin State Library, which contains two more chamber suites; another copy, previously kept in Hochschule der Künste in Berlin, is now lost. The circumstances of the piece’s composition are wholly unknown. One writer hypothesized that the Canon may have been composed for Johann Christoph Bach’s wedding, on 23 October 1694, which Pachelbel attended. The music for the occasion was provided by Johann Ambrosius Bach, Pachelbel, and other friends and family members. Johann Christoph Bach was a former pupil of Pachelbel’s, and Johann Sebastian Bach’s oldest brother.nnThe Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel’s chamber music. His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1925 published his arrangement of Canon and Gigue in his Organum series. Sandé.!0(\b8U!0W!13W!2013-04-10 16:14:04!0W!0WPachelbel’s Kanon for Brass Octet J.Pachelbel Keith Terrett Music for all Occasions Pachelbel’s Canon, also known as Canon in D major (PWC 37, T. 337, PC 358), is the most famous piece of music by German Baroque composer Johann Pachelbel. It was originally scored for three violins and basso continuo and paired with a gigue in the same key. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919, the piece became extremely popular, and today it is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as Air on the G String by Johann Sebastian Bach’s Air on the G String. Johann Pachelbel’s beautiful interweaving of melody and harmony,one of the great works of music! !0W:10:170!0W9037.!37W0["9554!64W5","4657!2017-03-31 13:08:28"632!2017-06-09 17:10:171267!0000-00-00 00:00:00,"23!WW595"]20!187464W-09-25 1!1WE9-9A5B-!3W005.00!12.00W3-04-09 !6.00W0000-00!12.00W00:00:00!6.00W Four Classic English Chorales/Hymns for Brass Quartet Various composers Keith Terrett Music for all Occasions A collection of four English hymns/chorales arranged for Brass Quartet. Alternative parts, such as a French Horn to replace Trumpet 2 are available on request. The Day You Gave Us , Lord, is ended St. Clement: St Clement, in 98. 98. meter, is a popular tune to John Ellerton’s hymn The Day Thou Gavest, Lord, is Ended. The tune is generally credited to the Rev. Clement Cotteril Scholefield (1839–1904).[1] It first appeared in Sir Arthur Sullivan’s Church Hymns with Tunes (1874). The Rev. Scholefield was born at Edgbaston, Birmingham[1] and was the youngest son of MP William Scholefield, MP for Birmingham. However, in 2000 the Rev. Ian Bradley, reader in Church History and Practical Theology at St Andrews University and author of The Daily Telegraph Book of Hymns, wrote of a connection between Sullivan, who composed the music for Gilbert and Sullivan’s comic operas and many hymns, among other works both sacred and secular, and Rev. Scholefield. "The two men were good friends while Sullivan was organist at St Peter’s Church, South Kensington, from 1867 to 1872". In his book, Bradley writes: In an article in the Hymn Society Bulletin in 1994 Mervyn Horder, himself a hymn-tune composer, suggested that ’Sullivan almost certainly had a larger hand in St Clement than has been or can ever definitely be, credited to him.’ His starting-point was the fact that this tune stands head and shoulders above the quality of Scholefield’s other work. None of the 41 other hymn-tunes penned by this self-taught musician show anything like the craftsmanship, originality or melodic sweep of St Clement. Onward Christian Soldiers: Sing Praise to the Lord (Laudate Dominum): "Abide with Me": is a Christian hymn by Scottish Anglican Henry Francis Lyte most often sung to English composer William Henry Monk’s tune entitled "Eventide". Lyte wrote the poem in 1847 and set it to music while he lay dying from tuberculosis; he survived only a further three weeks after its completion. Popular use[edit] Religious services: The hymn is popular across many denominations, and was said to be a favourite of King George V and Mahatma Gandhi. It is also often sung at Christian funerals. In the aftermath of the sinking of RMS Titanic, survivors reported that the Titanic’s band played the hymn as the ship was sinking, although detailed studies have identified other songs played by the band. Military services: The hymn is sung at the annual Anzac Day services in Australia and New Zealand, and in some Remembrance Day services in Canada[7] and the United Kingdom. It is also played by the combined bands of the Indian Armed Forces during the annual Beating Retreat ceremony held on 26 January at Vijay Chowk, New Delhi, which officially marks the end of Republic Day celebrations. A choral version of this hymn has been arranged by Moses Hogan. Music: Phrases of the finale of Gustav Mahler’s Symphony No. 9 are often noted for their similarity to Monk’s Eventide. Thelonious Monk recorded an instrumental version of Abide with Me with his jazz septet as the first track of the 1957 album Monk’s Music. In 2006, two different takes of the recording were released on The Complete 1957 Riverside Recordings, an anthology of Thelonious Monk’s work with John Coltrane. The hymn was also set to music around 1890 by the American composer Charles Ives, and was published in his collection Thirteen Songs in 1958, four years after his death. Doris Day recorded this song on her 1962 album "You’ll Never Walk Alone." The pipes and drums of the Royal Scots Dragoon Guards played the hymn in their 2007 album, Spirit Of The Glen. Hayley Westenra recorded the hymn on her third international album, Treasure, and performed it live at various sporting events, including the Rugby League Challenge Cup Final in August 2009. An instrumental version appears on the 2009 David Friesen David Friesen release, Vanishing the Darkness. In 2013, Joe McElderry and the Royal Mail Choir recorded the song, and it was released as a charity single on 14 April 2013, raising money for Prostate Cancer UK. This version reached number 19 in the UK indie charts. At Portora Royal School (the school Henry Francis Lyte attended) the song has become the school’s victory song and is sung at the annual Portora Remembrance Service In sport: Since the 1927 FA Cup Final between Arsenal and Cardiff City, the first and last verses of the hymn are traditionally sung at the FA Cup Final before the kick-off of the match, at around 2.45pm BST. It also featured on the B-side of the The Christians, Holly Johnson, Paul McCartney, Gerry Marsden and Stock Aitken Waterman charity single "Ferry Cross the Mersey" in 1989, which was recorded in memory of the Hillsborough disaster victims. The hymn has been sung prior to the kick-off at every Rugby League Challenge Cup final since 1929, the first final to be held at Wembley Stadium. "Abide with Me" was also sung at the 2012 Summer Olympics opening ceremony, performed by Scottish singer Emeli Sandé. In film and television: Film Shane (1953) TV series Twilight Zone (1962) – In episode The Last Rites of Jeff Myrtlebank Film Fist of Fury (1972) – Played by brass band in funeral scene TV series/Film Scenes from a Marriage (1973) – In episode Innocence and Panic TV series Ripping Yarns (1976–9) – In episode The Testing of Eric Olthwaite Film A Bridge Too Far (1977) – Sung by wounded British paratroopers at a field hospital TV Doctor Who: In episode Kinda (1982) In episode Gridlock (2007) 4-23 ( x8UQXCH-0  @HKP x `x8U<@+0%( LP8@~713901227U`8U8UD8U8UDЎ8U8UD8U 8UDU8U08UDU8U@8UD V8UP8UD@V8U8UD`V8Up85U8UDb8U8UDb8U8UDc8U8UD0c8U8UDPc8U8UDpc8U6U8UD c8U8UD g8U8UD@g8U 8UD`g8U08UDg8U@8UDg8UP8UD8U`8UDp8Up8UD8U8UD8U8UDg8U8UDg8U8UDh8U8UD h8UЀ8UD@h8U8UD`h8U8UDh8U8UDh8U8UDh8U 8UDh8U08U@8UP8U`8Up8U8UD [8U8UD@[8U8UD`[8U8UD[8U8UD@\8UЁ8UD`\8U8UD\8U8UD\8U8UD\8U(8U7U8UD@8U_85UZ85Up8UDp8U8UD q8U8UD@q8U8UD i8Upc7U `8U 7U28UX7U 7UD3U@8UD0;8UH8UD8Ux8UPH8UD8UPc68UDP68Uc68UD68Ui68UD68UH8UD 8UH8UD8UH8UD@8UH8UD`8U8U  ?8U0+7UD`8U8UD8U 8UD08U08UDP8U@8UDp8UP8UD8U`8UD8Up8UD8U8UD8U8UD8U8UD8U8UD8U8UD8UЃ8UD8U8UD 8U8UD@8U8UD8U8UD08U 8UDP8U08UD`8U@8UD8UP8UD и8U`8UD8Up8UD8U8UD8U8UD8U8UD 8U8UD@8U8UD8UЄ8UD8U8UD 8U8UDp8U8UD8U8UD8U 8UD8U08UD 8U@8UD@8UP8UD (8U`8UD`8Up8UD8U8UD8U8UD8U8UD8U8UD8U8UD8UЅ8UD8Up85U8UDp8U8UD8U8UD8U8UD8U 8UD8U08UD8U6U@8UD `/8UP8UD<8U`8UD0<8Up8UDP<8U8UDp<8U8UD<8U8UD<8U8UD@?8U8UD`?8UІ8UD?8U8UD&8U8UD&8U8UD&8U8UD&8U 8UD'8U08UD0'8U@8UDP'8UP8UDp'8U`8UD'8Up8UD'8U8U8U8U8U8UЇ8UD'8U8UD'8U8UD(8U8UDC8U8UD`D8U 8UDD8U08UDD8U@8UDD8UP8UDD8U8U8U8UD@i8U_85UZ85Up3U7U8U 3U(3UDP7U8UAAn arrangement of Charpentier’s Trumpet Prelude from the Te Deum of 1690, set for solo Trumpet and Organ, in a lower key to suit younger players and students, not yet ready for the demands on the embouchure of the semi-professional and professional versions which lie in higher tessituras. Parts in a variety of transpositions are available on request:keithterrett@gmail.com The first trumpets were made by vibrating the lips into an amplifier of some type, like a shell or an animal horn. The first metal trumpets are attributed to the Egyptians, after two trumpets were discovered in the tomb of Tutankhamun: one of silver and one of bronze. These types of trumpets were used for signaling, and the sound they produce has been compared to the braying of a donkey. The trumpet’s primary use through most of history has been for signaling, especially in times of war. In the Middle Ages, the trumpet began to appear in courts, providing ceremonial fanfares. Around 1400, instrument makers discovered the method for tube bending, and the trumpet began to take its familiar curved shape. Around the same time, trumpet players began to experiment with the range of the trumpet. By the 1550s, five part trumpet ensembles requiring each player to perform a different register of the trumpet were appearing. 8U8UqPrelude from the Te Deum (Eurovision Song Contest Theme) for Solo Trumpet & Organ w pedals in C (Intermediate/Semi Pro version) Charpentier Keith Terrett Music for all Occasions An arrangement of Charpentier’s Trumpet Prelude from the Te Deum of 1690, set for solo Trumpet and Organ in C, in a great key to suit semi pro players and students, not yet ready for the demands on the embouchure of the professional versions which lie in a higher tessitura. Parts in a variety of transpositions are available on request: keithterrett@gmail.com Marc-Antoine Charpentier composed six Te Deums, although only four of them have survived. Largely because of the great popularity of its prelude, the best known is the Te Deum in D major, H. 146, written as a grand motet for soloists, choir, and instrumental accompaniment probably between 1688 and 1698, during Charpentier's stay at the Jesuit Church of Saint-Louis in Paris, where he held the position of musical director. It is thought that the composition was performed to mark the victory celebrations and the Battle of Steinkirk in August, 1692. 8UP8UA{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":91,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"E2E235F8-1603-11E7-A01E-AF12D7C56DFF","position-x-pc":"0"}nYear? !0W!500W!368WK8UXQ8UP8UI8UXK8U`L8UL8UhP8U(N8U P8UL8UL8UG8UP8UP8UK8UHO8U#8U0I8UH8UO8UP8UO8UN8UPP8UJ8UQ8UhM8UM8U8P8UN8UN8UK8U(K8U(Q8UM8UO8UH8U8J8UXN8UN8U@N8U M8UO8UPJ8U`O8UK8UhJ8UJ8UL8UP8UO8UH8UQ8UHI8U0L8U@H8U`I8UJ8UM8UpH8UxL8UI8UhG8UI8UxO8U@Q8UO8UP8UO8UJ8UpN8UN8UI8UN8UI8U J8UM8UЭ8U["104823","84079","52169","81183","7634","504459","37501","110385","83051","85679","34003","48730","34732","46934","66701","31750","67047","91369","71244","93278"]U!2020-08-25 02:25:57!1W!2020-03-22 05:25:411923E271C-6BFD-11EA-A495-788383FEA0E1!148366W!0W!0W!0W!1W!650x841W!0W!0W!5.00W!2023-02-15 05:40:48!2023-02-15 05:41:23!2455262W!3226227W!0000-00-00 00:00:00!0000-00-00 00:00:00  \`:@48 -0VX$(-008 _`/0hp,0<@*0  8U!3.99W8U10W8U0ALassus Trombone for Trombone & Brass QuartetU7U!9W 7U!0W@8U!3W؝8U!2W8U!2020-05-04 05:02:08U!2020-05-05 12:03:59UAHenry Fillmore Arranged by Keith Terrett8U!Keith Terrett8U10W0!sibW)8U!250W7U!0WГ8U1Lassus Trombone for Brass Quintet.sib!2020-05-04 05:02:08U!4W%8U!4582W0S8U!3W8U!1.20X8U!2020-05-04 12:10:03U!1W`8U!0W8U!0W8U!0X8U!0W8U11W8U0!1.99X8U!2022-08-15 14:43:53U!1W(8U!0W8U!111473W8U!0XP8U!0Wx8U111W8U0An original for Bb Baritone or Euphonium in TC of my popular Gypsy solo, with Piano accompaniment. Great showstopper for your next concert, with faster outer sections; concealing a soft center! Bass clef parts are available if required. Take a listen to my version for Xylophone & Concert Band. https://www.youtube.com/watch?v=aCz-qRUTUS4 For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: https://www.scoreexchange.com/profiles/keithterrett1 http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. !^^8U!0W!WW!WW!WW!2019-09-13 14:42:10U!0000-00-00 00:00:00!WW8U!218204W!1W8U!3W8U!8.00Wx8U!4.00W8U!8.00W8U!4.00Wh8U!0W(8U!0W8U!1W!0W8U!0W1WW8U8U0An arrangement for TC Baritone or Euphonium of my popular Gypsy solo, with Piano accomp. Bass clef parts are available if required:keithterretty@gmail.com 8U!1W!0W!1W!0W{ "GroupOrd" : "80", "StoreGroupOrd" : "80", "StoreGroupID" : "3050", "GroupID" : "22219" } efScoreExchang!0.0000W!2022-08-15 14:47:38AThe Gypsy BaritoneEuphonium Player in New Orleans TC!0W!0W!4W!2013-04-23 21:30:10!0W!0W1The Gypsy Baritone/Euphonium Player in New Orleans (TC) Keith Terrett Music for all Occasions An original for Bb Baritone or Euphonium in TC of my popular Gypsy solo, with Piano accompaniment. Great showstopper for your next concert, with faster outer sections; concealing a soft center! Bass clef parts are available if required. Take a listen to my version for Xylophone & Concert Band. https://www.youtube.com/watch?v=aCz-qRUTUS4 For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: https://www.scoreexchange.com/profiles/keithterrett1 http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. !77x]p8U!2017-03-31 11:55:55{"width":296,"position-y-pc":"77","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[{"y":204,"width":55,"x":5,"center-y":231.5,"height":55,"center-x":32.5}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"bottom","position-y-combined":"bottom","average-center-x":32.5,"average-center-y":231.5,"id":"A34A4E4C-1600-11E7-9CD5-E38399D3F90D","position-x-pc":"11"}8U!1W!225W!159W 8U8U8U8U8U8U8U8U8U8U8U8UH8UH8Up8U8U8U#8U8U8U8U8U@8U88U8U8Ux8U8U8U8Ux8UP8UP8U8U8U8U(8U88U8U8U8U8U8U8U8U8U88U8U8U@8U8UX8Ux8U8U8U8U8U8U8UH8U8U8Uh8U8U(8U8U8U8U`8Uh8UH8U8U 8U8U8UX8U8U08U @!0.00[8U["168005","64774","44434","90008","63828","63830","46805","63860","58939","43050","62634","64268","63819","58797","60254","58287","58159","44469","35945"]8U8U!2020-08-30 17:11:10U!1WeExchang!2019-09-25 12:46:31Tit11E3A21B8-DF8A-11E9-A548-788UeScores!10617Wq8U!0W8U!0WScores!0WNetwork!1W8U!650x918W8U!0W.8U!0WeScores!5.00W @!2023-05-03 02:29:16?!2023-05-03 02:29:40U!2131750W8U!2810127WScores!0000-00-00 00:00:00!0000-00-00 00:00:00UQ 8U!X27U !0W@!0W`!0W !62959W7U!3WK8U11.20WK8U0QHebrew Slaves Chorus from Nabucco ("Va, pensiero") for Brass QuintetU!9W7U!0W7U!3W 7U!2W@8U!2021-05-24 14:40:42U!2021-05-24 14:47:08U!Verdi8X`L8U!Keith TerrettL8U!1842WK8U12008W0!sibW r8U!250W|8U!0W)8UAHebrew Slaves Chorus for Brass Quintet Edited 2021.sib!2021-05-24 14:40:42U!9Wx 8U!4283WX8U!6W%8U!2021-05-24 14:40:44U!1W4U!0W4U!110177W4U12019-03-17 19:35:05U0!1.50Xx8U!2020-12-15 16:08:16U!1W8U!1W8U!0W8U!WW(8U!0WP8U10W`8U0The Maid of the Mist in an arrangement for solo Cornet (Trumpet, Flugel, Baritone, Euphonium TC) & Wind Dectet of a fun light piece creating a great showpiece for the cornet. It is named after the sight-seeing boats for tourists in Niagara Falls. Set as a polka, there is much opportunity for the soloist to display quick fingers and light triple tonguing. To create a clean new edition, dynamics and articulations were made more consistent in the parts. Counter melodies were added to enhance the arrangement. American composer and Cornet player Herbert L. Clarke was one of the first soloists to combine a pyrotechnic technique with a lush, romantic sound. His virtuoso-with-a-heart' style set the standard for Cornet (and later Trumpet) players for the next several generations. He, along with Jean Baptiste Arban and Frank Simon, is considered to be one of the finest Cornetists in history. Many of Clarke's compositions are still regularly performed, including: 'The Maid of the Mist', 'Sounds of the Hudson', 'The Bride of the Waves', 'Stars in a Velvety Sky', 'From the Shores of the Mighty Pacific', 'The Debutante and Southern Cross'. 'The Maid of the Mist' was composed ca. 1912 and is one of about 50 pieces Clarke wrote to display his virtuosity in concerts. 'Maid of the Mist' is the name of a tourist boat that visitors to Niagara Falls can ride to view the falls up-close. A nice recording from John Liddle & The Fanfarones: https://www.youtube.com/watch?v=Jk-XMmWydZI !\\8U!0W!WWACopyright © 2020 MFAO keithterrett@gmail.com !WW!2021-06-03 20:40:42U!0000-00-00 00:00:00!WW`8U!383W!18Y8U!3Wx8U!16.00WP8U!8.00Wp8U!16.00W8U!8.00W@8U!0W8U!0W8U!1W!0W8U!1W10W`8U8U0!1[p8U!0W!0.0000W!2020-12-15 16:13:23aThe Maid of The Mist for Bb Cornet Trumpet Flugel Baritone Euphonium TC Wind Dectet!0W!0W!18W!0000-00-00 00:00:00!0W!0W8U!0x[!0W?!0W8U!0WX8U!0000-00-00 00:00:00!WW?!0W8U!1600W8U!1206W !ZXZ?!0.00W08U!WW8U!0000-00-00 00:00:00 !1W?!2020-12-15 15:50:02U1316F7030-3EED-11EB-AC7D-788383FEA0E1!100514W !0W!0W8U!1W!0W !1W!650x840W 8U!0W !0W !5.00W!2023-03-05 12:20:18U!2023-03-05 12:23:39!9019210W !12802999W p8U8Ue7U @0 8U8U 0(8U 8U2@8U`8U7UD`3U8UD8U O8UD08U8UN8Ui68UDа68Ui68UD68U0'78UD68UN8UDP8U0O8UDP8UN8UDЯ8UO8UD8U@8U  @8U+7UD047U`8UD47Up8UD47U8UD8U8UD8U8UD8U8UD 8U8UD@8UЉ8UD8U8UD8U8UD08U8UDP8U8UD8U 8UD8U08UDе8U@8UD8UP8UD`8U`8UD8Up8UD8U8UDд8U8UD 8U8UD68U8UD88U8UD98UЊ8UD098U8UDP98U8UDp98U8UD98U8UD98U 8UD98U08UD 98U@8UDP:8UP8UD@8U`8UD`8Up8UD8U8UD8U8UD8U8UD<8U8UD@>8U8UD`>8UЋ8UD>8U8UD>8U8UD>8U8UD>8U8UD?8U 8UDP47Up85U08UD ?8U@8UD@?8UP8UD`?8U`8UD?8Up8UD?8U8UD?8U6U8UD?8U8UDpR8U8UDR8U8UDR8UЌ8UD08U8UDP8U8UD8U8UD8U8UD8U 8UD 8U08UDp8U@8UD8UF8UD8UF8UDж8UG8UD8UG8UDp:8U G8UD:8U0G8U@G8UD:8UPG8UD:8U`G8UpG8UG8UG8UG8UG8UD:8UG8UD;8UG8UD0;8UG8UDP;8UG8UD<8UH8UD <8UH8UD@<8U H8UDP8U0H8UD`<8U8U 8U 3U ?3U8!8Ue7U @p8U88U #8UD 7UJ3U3U(f7U pB3U 8U `8U`7U28U8U7UD\3U8UDs8U8UD;8U 8U`8UDp;8U@'78UD68Up'78UD@68U-78UD@78U08U8UD<8Up8UD;8U8UD;8U8U  8U+7UD48U@I8UD48UPI8UD58U`I8UD058UpI8UDP58UI8UDp58UI8UD58UI8UD58UI8UD`68UI8UD68UI8UD68UI8UD8UI8UD@8UJ8UD`8UJ8UD8U J8UD8U0J8UD68U@J8UD58UPJ8UD58U`J8UD68UpJ8UD068UJ8UD 8UJ8UD 8UJ8UD 8UJ8UD 8UJ8UD 8UJ8UD!8UJ8UD !8UJ8UD@!8UK8UD`!8UK8UD 048U K8UD!8U0K8UD8U@K8UD8UPK8UD8U`K8UD 8UpK8UD@8UK8UD p8UK8UD`8UK8UD8USE::Scor 8Us. The s!]H]8U!100W!98561W!0W!1182450W!0000-00-00 00:00:00Q*5Uas alsoPa( 5U p8U萿4Uq85U85UX85U85Ux85U08U`8U8Ux8U8UH8Uchariot 1p85U@8U<85U@985U8U0'^2U8U>85U8U8U8UX<85UH85Uh"^2U ;85UP>85U8UX8U8Up8Ux=85U ^2U88U>85Ux85U0C85U`@8U985U8U 8U`85UX>5UK@5Us>5U8U8UnL7U8UnL7Uh8U8U08U88UnL7U8U4Uij7U8U8U8U8U]5UP8Up8U8U8U8Ux8U08U8U8U^5U_5U`_5U_5U_5U_5U`5U`5Uh`5Ua5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4Uonal ant14Uȸ5U4U]5U4U@^5Up^5U^5U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4U4Ua8Up7U =4UA/usr/www/resources/ADAP3/GenericObject2.pml, and I will!DBD::mysql::st!/instrumentations!An arrangementof the Indian national anthem for Brass Quintet. There are versions for String Orchestra, full Orchestra & Band in my store. On offficial occasions, you should perform the anthem in 52seconds! Jana Gana Mana" (Bengali: জন গণ মন, Sanskrit: जन गण मन) is the national anthem of India. Written in highly Sanskritised (Tatsama) Bengali, it is the first of five stanzas of a Brahmo hymn composed and scored by Nobel laureate Rabindranath Tagore. It was first sung in Calcutta Session of the Indian National Congress on 27 December 1911. "Jana Gana Mana" was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. 27 December 2011 marked the completion of 100 years of Jana Gana Mana since it was sung for the first time. The original poem written by Rabindranath Tagore was translated into Hindi by Abid Ali. The original Hindi version of the song Jana Gana Mana, translated by Ali and based on the poem by Tagore, was a little different. It was "Sukh Chain Ki Barkha Barase, Bharat Bhagya Hai Jaga....". Jana Gana Mana was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. A formal rendition of the national anthem takes fifty-two seconds. A shortened version consisting of the first and last lines (and taking about 20 seconds to play) is also staged occasionally. Tagore wrote down the English translationof the song and along with Margaret Cousins (an expert in European music and wife of Irish poet James Cousins), set down the notation at Madanapalle in Andhra Pradesh, which is followed only when the song is sung in the original slow rendition style of singing. However, when the National Anthem version of the song is sung, it is done in the traditional grandiose Martial Style of music. Rabindranath Tagore translated "Jana Gana Mana" from Bengali to English and also set it to music in Madanapalle, a town located in the Chittoor district of Andhra Pradesh state, India. Though the Bengali song had been written in 1911, it was largely unknown except to the readers of the Brahmo Samaj journal, Tatva Bodha Prakasika, of which Tagore was the editor. During 1919, Tagore accepted an invitation from friend and controversial Irish poet James H. Cousins to spend a few days at the Besant Theosophical College situated at Madanapalle of which Cousins was the principal. On the evening of 28 February 1919 he joined a gathering of students and upon Cousins’ request, sang the Jana Gana Mana in Bengali. The college authorities, greatly impressed by the lofty ideals of the song and the praise to God, selected it as their prayer song. In the days that followed, enchanted by the dreamy hills of Madanapalle, Tagore wrote down the English translation of the song and along with Cousins’ wife, Margaret (an expert in Western music), set down the notation which is followed till this day. The song was carried beyond the borders of India by the college students and became The Morning Song of Indiaand subsequently the national anthem. Today, in the library of Besant Theosophical College in Madanapalle, the framed original English translation of Jana gana Mana, titled as The Morning Song of India in Tagore’s handwriting, is displayed. The National Anthem of India is played or sung on various occasions. Instructions have been issued from time to time about the correct versions of the Anthem, the occasions on which these are to be played or sung, and about the need for paying respect to the anthem by observance of proper decorum on such occasions. The substance of these instructions has been embodied in the information sheet issued by the government of India for general information and guidance. Controversy shadowed Jana Gana Mana from the day of its first rendition in 1911 at the Congress session in Calcutta. King George V was scheduled to arrive in the city on 30 December and a section of the Anglo-Indian English press in Calcutta thought – and duly reported – that Tagore’s anthem was a homage to the emperor. The poet rebutted such claims in a letter written in 1939: "I should only insult myself if I cared to answer those who consider me capable of such unbounded stupidity." In another letter to Pulin Behari Sen, Tagore later wrote, "A certain high official in His Majesty’s service, who was also my friend, had requested that I write a song of felicitation towards the Emperor. The request simply amazed me. It caused a great stir in my heart. In response to that great mental turmoil, I pronounced the victory in Jana Gana Mana of that Bhagya Vidhata [ed. God of Destiny] of India who has from age after age held steadfast the reins of India’s chariot through rise and fall, through the straight path and the curved. That Lord of Destiny, that Reader of the Collective Mind of India, that Perennial Guide, could never be George V, George VI, or any other George. Even my official friend understood this about the song. After all, even if his admiration for the crown was excessive, he was not lacking in simple common sense." In July 1985, in the state of Kerala, some of the Jehovah’s Witnesses children were expelled from school under the instructions of Deputy Inspector of Schools for having refused to sing the national anthem, Jana Gana Mana. A parent, V. J. Emmanuel, appealed to the Supreme Court of India for legal remedy. On August 11, 1986, the Supreme Court overruled the Kerala High Court, and directed the respondent authorities to re-admit the children into the school. The decision went on to add, "Our tradition teaches tolerance, our philosophy teaches tolerance, our Constitution practices tolerance, let us not dilute it". 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 Love anthems, then join me on twitter, facebook, instagram & soundcloud._8UA{"width":223,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"72C13194-1620-11E7-872F-CE1774AE6B35","position-x-pc":"0"}P!!0W!200W!269W8U`8U8U8U`8Uh8U8Up8U08U(8U8U 8UR8U8U8U8UP8U#8U88U8U 8U8U8U8UX8U8U8Up8U8U@8U8U8U8U08U08U8U8U8U@8U`8U8UH8U(8U8UX8Uh8U8Up8U8U8U8U8UHR8U8UP8U88UH8Uh8U8U8Ux8U8U8UQ8U8U8UH8U8U8U8U8Ux8U8U 8U8U8U(8U8U !\\@98U!0.00W["88308","168223","140556","78183","151528","59699","140520","188994","140618","173346","75247","4062","23092","4413","31140","79411","32625","100330","6032"] !2020-09-17 03:59:07!1W!2019-09-25 13:18:581A65A0DE8-DF8E-11E9-BB11-78 !11256W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-04-19 19:31:28!2023-04-19 19:32:09!1705562W!1720256W!0000-00-00 00:00:00!0000-00-00 00:00:00Qx8U1=8U"140617Xf85UH"8Ue85U`"8U88Uc85Ux"8U8UOm2U"8U8U m2U"8UP8UX~`2U"8U(8U`2U"8UHb85U"8U8U&_2U#8UhAT2U #8U8DT2U8#8U>T2UP#8U8U7Uh#8U4U#8U8UH5U#8U@8U(t85U#8Up85U#8UH=8Uj6U#8U885U#8UI85U$8U8U85U($8Uxa85U=7U85Up{7U6U 8U08UH4U8UX2U{7Uh4U` 8U8U6U 8U6U 8U>8Uh_2U8U85U0 8U885U 8U85U08U8U^i2UH8UΌ2U`8Un4Ub8U2Ub8U@8U2Uc8U8A8U5U0%8U4U&8U68U8UQ8U8U5U8UF8Ux6o3U&8U6U%8U(b2U&8U+_2U&8U,_2U&8Uh/_2U&8U6U'8U A8UX:5U('8Ux4U@'8Uh5o3UX'8Uh2Up'8U/_2U'8U 4U'8UC8U16U'8UF8U46U'8U=4U'8U45U(8UH1_2U(8U85U0(8U85UH(8UXDe3U`(8U87Ux(8U؝2U(8UX85U(8U85U(8U)6U(8U885U(8U85U)8U85U )8Up,5U8)8Ux85UP)8UD8UH85Uh)8U85U)8U`C8U4U)8U2U)8UD8UX2U)8U85U)8UX 85U)8UH!85U*8U"85U(*8U3U@*8UH%85UX*8UA8U&85UHM8U(6U`M8U&85UxM8UhG85UM8U8<25UM8UB8U 6UM8UZ85UM8UP6UM8U5UN8UA6U N8U)_2U8N8U54UPN8U_85UhN8U_85UN8UF8U`85UN8UA8Uc`7UN8Uf`7UN8U25UN8U25UN8U25UO8UC8U c2U(O8U"c2U@O8U(g85UXO8Ug85UpO8UW4UO8UXf85UO8Ue85UO8UA8Uc85UO8U(E8UOm2UO8UPA8U m2UP8UD8UX~`2UP8UpB8U`2U0P8UHb85UHP8UPD8U&_2U`P8UhAT2UxP8U8DT2UP8U>T2UP8U8G8U7UP8U4UP8U@B8UH5UP8UE8U(t85UQ8Up85U Q8UG8Uj6U8Q8U885UPQ8UI85UhQ8UE8U85UQ8Uxa85U{7U85U7U6U8UxF8UH4U8UX2U7Uh4U(8UHF8U6U8U6U8UH8Uh_2U c8U85U8U885U8U85U8c8U0C8U^i2UPc8UΌ2Uhc8Un4UXm8U2Upm8UPJ8U2Um8UD8U5U%8U6UpR8U4US8UK8U5UR8Uȋ8Ux6o3US8U8U\8U(b2UT8U+_2U T8U,_2U8T8Uh/_2UPT8U6UhT8UXK8UX:5UT8Ux4UT8Uh5o3UT8Uh2UT8U/_2UT8U 4UT8UȈ8U16UU8U8U46U(U8U=4U@U8U45UXU8UH1_2UpU8U85UU8UdefScor8U M8U8UDd8U8UDPe8U8UDpe8U 8UDe8Up85U08UDe8U@8UDe8UP8UDf8U`8UD0f8Up8UDPf8U8UDpf8U6U8UD f8U8UD8U8UDj8U8UDk8Uл8UD k8U8UD@k8U8UD`k8U8UDm8U8UDm8U 8UDm8U08UD^8U@8UD^8UP8UD^8U`8UD^8Up8UD_8U8UD _8U8UD@_8U8UD`_8U8UD_8U8UD_8Uм8U8U8U8U8U 8UD_8U08UD_8U@8UD`8UP8UDr8U`8UDr8Up8UDr8U8UDs8U8UD s8U8UDPs8UQ8U%8U7U 0 8U>T2U@<25UP!85Un4U0g85U5U 8U `8U7U2xR8Uh&8UP 7UDpG3UPT8UD8UP8UD0I8UR8U8UDH8UQ78UD88UR78UD 88UX78UD88U8U`8UDPI8U 8UDH8U08UDH8U8U  8UP,7UD8U u8UD@8U0u8UD8U@u8UD8UPu8UD8U`u8UD8Upu8UD8Uu8UD08Uu8UD8Uu8UD8Uu8UD 8Uu8UD@8Uu8UD8Uu8UD8Uu8UD8Uv8UD8Uv8UDP8U v8UDp8U0v8UD8U@v8UD8UPv8UD8U`v8UD 8Upv8UD8Uv8UD08Uv8UDP8Uv8UDp8Uv8UD8Uv8UD8Uv8UDЛ8Uv8UD8Uv8UD 8Uw8UDp8Uw8UD8U w8UD8U0w8UD 8U@w8UD@8UPw8UD`8U`w8UD 8Upw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Uw8UD8Up85Uw8UD8Ux8UD08Ux8UDP8U x8UDp8U0x8UD8U@x8UD8U6UPx8UD У8U`x8UD08Upx8UDP8Ux8UDp8Ux8UD8Ux8UD8Ux8UDЧ8Ux8UD`8Ux8UD8Ux8UD8Ux8UD8Uy8UD8Uy8UD08U y8UDP8U0y8UDp8U@y8UD8UPy8UD8U`y8Upy8UDЇ8Uy8UD8Uy8UD8Uy8UD8Uy8UDМ8Uy8UD8Uy8UD8Uy8UD08Uy8UDP8Uz8UDp8Uz8UD8U z8UD@8U0z8UD`8U@z8UD8UPz8UDЮ8U`z8UD8U\8UXR8U85U 16U@85U85U\8UpU3UD 8U`8U 8U 7U2\8US8U!1^ ]8U!0W!WW!WW!0W!WWqCopyright © 2007 www.musicforalloccasions.org.uk(keithterrett@gmail.com) Edited December 2012? !WW!2017-06-09 17:10:17U!0000-00-00 00:00:00!WWF8U!734611W!1WC8U!3WF8U!6.00WA8U!3.00WE8U!6.00W D8U!3.00WB8U!0WHC8U!WWF8U!0.00WQ@K8U!SE_Score_Mp3_get_infoAA new and exciting arrangement of an ever popular English sea shanty with variations, arranged for solo C Trombone with Piano accompaniment. This piece makes a great novelty item for your next concert or recital. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering--or castigating, or simply abusing--the sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the song’s chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completed. if you like this arrangement, you may enjoy my chart of Czardas for Trombone & Piano.esFound{ "GroupOrd" : "20", "StoreGroupOrd" : "20", "StoreGroupID" : "3046", "GroupID" : "22225" } ExchangeScores!0.0000W!2022-07-24 06:48:04AWhat Shall We Do With The Drunken TrombonistUf8U!0W!0W!2W!2013-04-13 14:40:45!0W!0WQWhat Shall We Do With The Drunken Trombonist? Sea Shanty Arr:Keith Terrett Keith Terrett Music for all Occasions A new and exciting arrangement of an ever popular English sea shanty, arranged for solo C Trombone with Piano accompaniment. This piece makes a great novelty item for your next concert or recital. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering--or castigating, or simply abusing--the sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the song’s chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completed. 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"Va, pensiero" (Italian: [va penˈsjɛro]), also known in English as the "Chorus of the Hebrew Slaves", is a chorus from the third act of the opera Nabucco (1842) by Giuseppe Verdi, with a libretto by Temistocle Solera, inspired by Psalm 137. It recollects the story of Jewish exiles in Babylon after the loss of the First Temple in Jerusalem. The opera with its powerful chorus established Verdi as a major composer in 19th-century Italy. The full incipit is "Va, pensiero, sull'ali dorate", meaning "Fly, thought, on the golden wings" (note that the first word is in modern orthography spelled Va', with an apostrophe, but this is absent in the libretto.)aultUUID!!2.50W!0W!1W!0W!WW!WW!0W!WWaMFAO © 2008 Music for all Occasions Publications (keithterrett@gmail.com) Edited 2019!WW!0Y8U!0W!1W8U!0W!1W(8U!0W8U!WWK8U!0.00W8U["88308","168223","140556","78183","151528","140617","59699","140520","188994","140618","173346","75247","4062","23092","4413","31140","79411","32625","100330","6032"]!2020-09-16 21:56:56U!1W8U!2019-09-25 12:46:09An arrangement of The Hebrew Slaves Chorus for Brass Quintet. "Va, pensiero" (Italian: [va penˈsjɛro]), also known in English as the "Chorus of the Hebrew Slaves", is a chorus from the third act of the opera Nabucco (1842) by Giuseppe Verdi, with a libretto by Temistocle Solera, inspired by Psalm 137. It recollects the story of Jewish exiles in Babylon after the loss of the First Temple in Jerusalem. The opera with its powerful chorus established Verdi as a major composer in 19th-century Italy. The full incipit is "Va, pensiero, sull'ali dorate", meaning "Fly, thought, on the golden wings" (note that the first word is in modern orthography spelled Va', with an apostrophe, but this is absent in the libretto.)8U!1W!0W!1W!0W{ "GroupOrd" : "170", "StoreGroupOrd" : "170", "StoreGroupID" : "3071", "GroupID" : "20428" } 8UdefScor!0.0000W!2021-05-24 14:43:18QHebrew Slaves Chorus from Nabucco Va pensiero for Brass Quintet!0W!0W!13W!2013-03-15 20:16:29!0W!0WaHebrew Slaves Chorus from Nabucco ("Va, pensiero") for Brass Quintet Verdi Keith Terrett Music for all Occasions An arrangement of The Hebrew Slaves Chorus for classical Brass Quintet. "Va, pensiero" (Italian: [va penˈsjɛro]), also known in English as the "Chorus of the Hebrew Slaves", is a chorus from the third act of the opera Nabucco (1842) by Giuseppe Verdi, with a libretto by Temistocle Solera, inspired by Psalm 137. It recollects the story of Jewish exiles in Babylon after the loss of the First Temple in Jerusalem. The opera with its powerful chorus established Verdi as a major composer in 19th-century Italy. The full incipit is "Va, pensiero, sull'ali dorate", meaning "Fly, thought, on the golden wings" (note that the first word is in modern orthography spelled Va', with an apostrophe, but this is absent in the libretto.)tySetOfPa!0W!0W!54W!65W!2017-03-31 11:53:24{"width":231,"position-y-pc":"65","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[{"y":169,"width":54,"x":98,"center-y":196,"height":54,"center-x":125}],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":300,"position-x-combined":"54%","position-x":"center","position-y":"bottom","position-y-combined":"65%","average-center-x":125,"average-center-y":196,"id":"49C22598-1600-11E7-9E44-BDCDD77884F8","position-x-pc":"54"}!1W!422W!546Wx8U8Up8UP8U8U 8UP8U(8U8U8Uh8U؊8UK8U8UȎ8UH8U8U`#8UL8U`L8U؍8UX8U8U8U8Up8UЏ8U(8U@8U8UЌ8U8U8U8U8UX8U8UL8U8U8U`8U8U8UP8U8U 8U8U(8U@8U8U@8U8UK8Ux8UM8U8UL8U 8UX8U8U0L8U88UL8U(K8U8U88U8Uh8U8U8U8U08Ux8UL8UH8U8U8U8U110DFA952-DF8A-11E9-B6D0-788U?!50804W!0W!0W!0W!0W!1W!650x459W!0W!0W!5.00W!2023-04-22 04:16:45!2023-04-22 04:17:19!3023324W!3373180W!0000-00-00 00:00:00!0000-00-00 00:00:000M8U8U` 7UD?3U8UD8UN8UD@8UP8UPN8UD8U X78UD`78UPX78UD78U78UD78U N8UN8UD`8U`N8UD8UpN8UD8U8U  28U,7UD8Up{8UD8U{8UD08U{8UDP8U{8UDp8U{8UD8U{8UD8U{8UD8U{8UD8U{8UD8U|8UD8U|8UD8U |8UD8U0|8UD08U@|8UDP8UP|8UDp8U`|8UD8Up|8UD8U|8UD8U|8UD8U|8UD8U|8UD `8U|8UD08U|8UDP8U|8UDp8U|8UD8U}8UD8U}8UD8U }8UD8U0}8UD8U@}8UD08UP}8UDP8U`}8UD8Up}8UD08U}8UDP8U}8UDP8U}8UDp8U}8UD 8U}8UDP8U}8UDp8U}8UD8U}8UD8U~8UD8U~8UD*8U ~8UD*8U0~8UD*8Up85U@~8UD+8UP~8UD +8U`~8UD@+8Up~8UD`+8U~8UD+8U~8UD+8U6U~8UD +8U~8UD8U~8UD8U~8UD/8U~8UD08U~8UD008U8UDP08U8UD28U 8UD28U08UD28U@8UDp8UP8UD8U`8UD8Up8UD8U8UD8U8UD8U8UD08U8UDP8U8UDp8U8UD8U8UD8U8UD8U8U8U 8U08UD8U@8UD8UP8UD08U`8UDG8Up8UDG8U8UDG8U8UDG8U8UDP8U8UDH8U8U\8U8U7U@V3U73U8U`}5U8U8U g8U`7U2p8U88Up 7UD?3U #8UD8UT8UD8Uл8UpT8U78UD78U078UD 78U@78UD r78U`T8UD8UT8UD8UT8UD`8UT8UD8U8U  }8U,7UD 7U8UD`8UЁ8UD@7U8UD8U8UD8U8UD8U8UD8U 8UD 8U08UDЄ8U@8UD8UP8UD8U`8UD08Up8UDp8U8UD8U8UD8U8UDЅ8U8UD@8U8UD`8UЂ8UD8U8UD8UI8UDpl8UI8UDl8UJ8UD8UJ8UD08U J8UDp8U0J8UDp8U@J8UDp8UPJ8UDq8U`J8UD q8UpJ8UD@q8UJ8UD`q8UJ8UDq8UJ8UD8UJ8UD8UJ8UD08UJ8UDP8UJ8UDp8UJ8UDs8UK8UDpt8UK8UDt8U K8UDt8U0K8UDt8U@K8UD8UPK8UDt8U?Q08U!0X@7U!WWg7U!WWr7U!WW87U!1.99(X7U!0X07U!91392W7U!1W !0000-00-00 00:00:00U10000-00-00 00:00:008U0!Film Music8U!37W@7U!0W8U!3W 1143927W؝8U8U0!371Xp7U!0W7U!1.50hX7U!0W 7U!0W@8U!0W؝8U!WW8U!WW 1Furchtenmachen for Brass 5 tet.sib8U!2015-12-19 04:36:24U!0W4U!2305W4U!0W4U!SchumannW4U1Keith Terrett4U0!0X08U!102305W8U!1xX8U!0Wp8U{ "GroupOrd" : "130", "StoreGroupOrd" : "130", "StoreGroupID" : "3050", "GroupID" : "22219" } 8U8USuo Gân arranged for C Trombone/Euphonium/Baritone, is a traditional Welsh lullaby written by an anonymous composer, used in the film Empire of the Sun starring Christian Bale. The song’s title simply means lullaby. (suo = lull; cân = song). Parts are available for Bb Trombone & Euphonium on request:keithterrett@gmail.com 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.8U!3.00W!0W!1W!0W!WW!WW!0W!WW!WW!WW!2018-04-02 17:21:38U!0000-00-00 00:00:00!WW8U!993643W!1W`8U!3W08U!6.00W8U!3.00W(8U!6.00W8U!3.00W8U!1W8U!1W`8U!0W!WWH8U!0.00W1E3D1B9C8-DF89-11E9-B562-788U0Suo Gân arranged for C Trombone/Euphonium or Baritone, is a traditional Welsh lullaby written by an anonymous composer, used in the film Empire of the Sun starring Christian Bale. The song’s title simply means lullaby. (suo = lull; cân = song). Parts are available for Bb Trombone & Euphonium on request:keithterrett@gmail.com 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.!1W !0W !60x[7U!624WH7U!3W7U!2W@7U!2022-07-24 06:45:53U!2022-07-24 06:53:50U!08X(B8U!0WB8U!2WA8U13.008U0!sibWXN8U!250W8U!0W8UAWhat Shall We Do With The Drunken Trombonist.sib8U!2022-07-24 06:45:53!4W!1945W!1W!2.00XC8U!2022-07-24 06:45:54U!1WHC8U!0WC8U!109082WC8U!1XpB8U!0WA8U10WC8U01Sea Shanty Arr:Keith Terrett!Keith Terrett The Maid of The Mist for Bb Cornet (Trumpet, Flugel, Baritone, Euphonium TC) & Wind Dectet By Herbert Lincoln Clarke Arranged by Keith Terrett Keith Terrett Music for all Occasions The Maid of the Mist in an arrangement for solo Cornet (Trumpet, Flugel, Baritone, Euphonium TC) & Wind Dectet of a fun light piece creating a great showpiece for the cornet. It is named after the sight-seeing boats for tourists in Niagara Falls. Set as a polka, there is much opportunity for the soloist to display quick fingers and light triple tonguing. To create a clean new edition, dynamics and articulations were made more consistent in the parts. Counter melodies were added to enhance the arrangement. American composer and Cornet player Herbert L. Clarke was one of the first soloists to combine a pyrotechnic technique with a lush, romantic sound. His virtuoso-with-a-heart' style set the standard for Cornet (and later Trumpet) players for the next several generations. He, along with Jean Baptiste Arban and Frank Simon, is considered to be one of the finest Cornetists in history. Many of Clarke's compositions are still regularly performed, including: 'The Maid of the Mist', 'Sounds of the Hudson', 'The Bride of the Waves', 'Stars in a Velvety Sky', 'From the Shores of the Mighty Pacific', 'The Debutante and Southern Cross'. 'The Maid of the Mist' was composed ca. 1912 and is one of about 50 pieces Clarke wrote to display his virtuosity in concerts. 'Maid of the Mist' is the name of a tourist boat that visitors to Niagara Falls can ride to view the falls up-close. A nice recording from John Liddle & The Fanfarones: https://www.youtube.com/watch?v=Jk-XMmWydZI1911 8U@8U@8U8U8U8U8U?8Ux=8Up?8U8UX8U 8U0@8UX?8U8U>8U0#8Up8U8Uh>8U?8U(?8U >8U?8U8U`@8U8U8U?8U`=8U8>8U(8Uh8Ux@8U8U?8U8Ux8U=8U=8U=8U`8U>8U8U>8U8U8U8U8U?8U@?8UP8UA8U8Up8U8U8U8U0=8U8U8U@8U8U8U>8U@8U>8UH@8UP>8U 8U=8U>8UX8U=8U08U`8U8Undia, th!0000-00-00 00:00:00U!0000-00-00 00:00:00Q@8U16U8U B62959!0XX q{ "GroupOrd" : "50", "StoreGroupOrd" : "0", "StoreGroupID" : "0", "GroupID" : "9075" } ityS!0.0000W !58166W7U!0W8U10Wؐ8U0ASUO-GAN for C Baritone/Euphonium/Trombone & Piano 8U!60W8U!583W78U!2W88U!2WXd8U!2018-04-03 12:59:56!2023-04-02 04:05:13!18X8U!1.50X8U!2018-04-03 12:59:57U11W0!sibW!250W!0W1SUO-GAN for C Trombone & Piano.sib!2018-04-03 12:59:56!1W!2373W!1W!trad.8U!Keith Terrettf:5U!0W8U10Wp8Uote0A new and exciting arrangement of an ever popular English sea shanty, arranged for solo C Trombone with Piano accompaniment. This piece makes a great novelty item for your next concert or recital. Drunken Sailor is a famous traditional sea shanty also known as What Shall We Do with a Drunken Sailor?. It is now rarely called by its other name Sailor’s Holiday. The theme of the song is quite self-explanatory. It begins with the question, "What shall we do with a drunken sailor, early in the morning?" (Or sometimes "What do you do," etc.) Each verse thereafter suggests a method of sobering--or castigating, or simply abusing--the sailor. Drunken Sailor was a work song often sung when raising a sail or raising the anchor, which is the reference for Up She Rises in the song’s chorus. Such songs were the only ones allowed in the Royal Navy. Most often, only two or three verses were sung but verses were often added until the task was completed. 0-00 00:00:0010WU8Up8U0An arrangementof the Indian national anthem for Brass Quintet. On offficial occasions, you should perform the anthem in 52seconds! Jana Gana Mana" (Bengali: জন গণ মন, Sanskrit: जन गण मन) is the national anthem of India. Written in highly Sanskritised (Tatsama) Bengali, it is the first of five stanzas of a Brahmo hymn composed and scored by Nobel laureate Rabindranath Tagore. It was first sung in Calcutta Session of the Indian National Congress on 27 December 1911. "Jana Gana Mana" was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. 27 December 2011 marked the completion of 100 years of Jana Gana Mana since it was sung for the first time. The original poem written by Rabindranath Tagore was translated into Hindi by Abid Ali. The original Hindi version of the song Jana Gana Mana, translated by Ali and based on the poem by Tagore, was a little different. It was "Sukh Chain Ki Barkha Barase, Bharat Bhagya Hai Jaga....". Jana Gana Mana was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. A formal rendition of the national anthem takes fifty-two seconds. A shortened version consisting of the first and last lines (and taking about 20 seconds to play) is also staged occasionally. Tagore wrote down the English translationof the song and along with Margaret Cousins (an expert in European music and wife of Irish poet James Cousins), set down the notation at Madanapalle in Andhra Pradesh, which is followed only when the song is sung in the original slow rendition style of singing. However, when the National Anthem version of the song is sung, it is done in the traditional grandiose Martial Style of music. Rabindranath Tagore translated "Jana Gana Mana" from Bengali to English and also set it to music in Madanapalle, a town located in the Chittoor district of Andhra Pradesh state, India. Though the Bengali song had been written in 1911, it was largely unknown except to the readers of the Brahmo Samaj journal, Tatva Bodha Prakasika, of which Tagore was the editor. During 1919, Tagore accepted an invitation from friend and controversial Irish poet James H. Cousins to spend a few days at the Besant Theosophical College situated at Madanapalle of which Cousins was the principal. On the evening of 28 February 1919 he joined a gathering of students and upon Cousins’ request, sang the Jana Gana Mana in Bengali. The college authorities, greatly impressed by the lofty ideals of the song and the praise to God, selected it as their prayer song. In the days that followed, enchanted by the dreamy hills of Madanapalle, Tagore wrote down the English translation of the song and along with Cousins’ wife, Margaret (an expert in Western music), set down the notation which is followed till this day. The song was carried beyond the borders of India by the college students and became The Morning Song of Indiaand subsequently the national anthem. Today, in the library of Besant Theosophical College in Madanapalle, the framed original English translation of Jana gana Mana, titled as The Morning Song of India in Tagore’s handwriting, is displayed. The National Anthem of India is played or sung on various occasions. Instructions have been issued from time to time about the correct versions of the Anthem, the occasions on which these are to be played or sung, and about the need for paying respect to the anthem by observance of proper decorum on such occasions. The substance of these instructions has been embodied in the information sheet issued by the government of India for general information and guidance. Controversy shadowed Jana Gana Mana from the day of its first rendition in 1911 at the Congress session in Calcutta. King George V was scheduled to arrive in the city on 30 December and a section of the Anglo-Indian English press in Calcutta thought – and duly reported – that Tagore’s anthem was a homage to the emperor. The poet rebutted such claims in a letter written in 1939: "I should only insult myself if I cared to answer those who consider me capable of such unbounded stupidity." In another letter to Pulin Behari Sen, Tagore later wrote, "A certain high official in His Majesty’s service, who was also my friend, had requested that I write a song of felicitation towards the Emperor. The request simply amazed me. It caused a great stir in my heart. In response to that great mental turmoil, I pronounced the victory in Jana Gana Mana of that Bhagya Vidhata [ed. God of Destiny] of India who has from age after age held steadfast the reins of India’s chariot through rise and fall, through the straight path and the curved. That Lord of Destiny, that Reader of the Collective Mind of India, that Perennial Guide, could never be George V, George VI, or any other George. Even my official friend understood this about the song. After all, even if his admiration for the crown was excessive, he was not lacking in simple common sense." In July 1985, in the state of Kerala, some of the Jehovah’s Witnesses children were expelled from school under the instructions of Deputy Inspector of Schools for having refused to sing the national anthem, Jana Gana Mana. A parent, V. J. Emmanuel, appealed to the Supreme Court of India for legal remedy. On August 11, 1986, the Supreme Court overruled the Kerala High Court, and directed the respondent authorities to re-admit the children into the school. The decision went on to add, "Our tradition teaches tolerance, our philosophy teaches tolerance, our Constitution practices tolerance, let us not dilute it". For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 Indian National Anthem for Brass Quintet (MFAO World National Anthem Series) Composed by Rabindranath Tagore (1861-1941) Keith Terrett Music for all Occasions An arrangementof the Indian national anthem for Brass Quintet. There are versions for String Orchestra, full Orchestra & Band in my store. On offficial occasions, you should perform the anthem in 52seconds! Jana Gana Mana" (Bengali: জন গণ মন, Sanskrit: जन गण मन) is the national anthem of India. Written in highly Sanskritised (Tatsama) Bengali, it is the first of five stanzas of a Brahmo hymn composed and scored by Nobel laureate Rabindranath Tagore. It was first sung in Calcutta Session of the Indian National Congress on 27 December 1911. "Jana Gana Mana" was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. 27 December 2011 marked the completion of 100 years of Jana Gana Mana since it was sung for the first time. The original poem written by Rabindranath Tagore was translated into Hindi by Abid Ali. The original Hindi version of the song Jana Gana Mana, translated by Ali and based on the poem by Tagore, was a little different. It was "Sukh Chain Ki Barkha Barase, Bharat Bhagya Hai Jaga....". Jana Gana Mana was officially adopted by the Constituent Assembly as the Indian national anthem on 24 January 1950. A formal rendition of the national anthem takes fifty-two seconds. A shortened version consisting of the first and last lines (and taking about 20 seconds to play) is also staged occasionally. Tagore wrote down the English translationof the song and along with Margaret Cousins (an expert in European music and wife of Irish poet James Cousins), set down the notation at Madanapalle in Andhra Pradesh, which is followed only when the song is sung in the original slow rendition style of singing. However, when the National Anthem version of the song is sung, it is done in the traditional grandiose Martial Style of music. Rabindranath Tagore translated "Jana Gana Mana" from Bengali to English and also set it to music in Madanapalle, a town located in the Chittoor district of Andhra Pradesh state, India. Though the Bengali song had been written in 1911, it was largely unknown except to the readers of the Brahmo Samaj journal, Tatva Bodha Prakasika, of which Tagore was the editor. During 1919, Tagore accepted an invitation from friend and controversial Irish poet James H. Cousins to spend a few days at the Besant Theosophical College situated at Madanapalle of which Cousins was the principal. On the evening of 28 February 1919 he joined a gathering of students and upon Cousins’ request, sang the Jana Gana Mana in Bengali. The college authorities, greatly impressed by the lofty ideals of the song and the praise to God, selected it as their prayer song. In the days that followed, enchanted by the dreamy hills of Madanapalle, Tagore wrote down the English translation of the song and along with Cousins’ wife, Margaret (an expert in Western music), set down the notation which is followed till this day. The song was carried beyond the borders of India by the college students and became The Morning Song of Indiaand subsequently the national anthem. Today, in the library of Besant Theosophical College in Madanapalle, the framed original English translation of Jana gana Mana, titled as The Morning Song of India in Tagore’s handwriting, is displayed. The National Anthem of India is played or sung on various occasions. Instructions have been issued from time to time about the correct versions of the Anthem, the occasions on which these are to be played or sung, and about the need for paying respect to the anthem by observance of proper decorum on such occasions. The substance of these instructions has been embodied in the information sheet issued by the government of India for general information and guidance. Controversy shadowed Jana Gana Mana from the day of its first rendition in 1911 at the Congress session in Calcutta. King George V was scheduled to arrive in the city on 30 December and a section of the Anglo-Indian English press in Calcutta thought – and duly reported – that Tagore’s anthem was a homage to the emperor. The poet rebutted such claims in a letter written in 1939: "I should only insult myself if I cared to answer those who consider me capable of such unbounded stupidity." In another letter to Pulin Behari Sen, Tagore later wrote, "A certain high official in His Majesty’s service, who was also my friend, had requested that I write a song of felicitation towards the Emperor. The request simply amazed me. It caused a great stir in my heart. In response to that great mental turmoil, I pronounced the victory in Jana Gana Mana of that Bhagya Vidhata [ed. God of Destiny] of India who has from age after age held steadfast the reins of India’s chariot through rise and fall, through the straight path and the curved. That Lord of Destiny, that Reader of the Collective Mind of India, that Perennial Guide, could never be George V, George VI, or any other George. Even my official friend understood this about the song. After all, even if his admiration for the crown was excessive, he was not lacking in simple common sense." In July 1985, in the state of Kerala, some of the Jehovah’s Witnesses children were expelled from school under the instructions of Deputy Inspector of Schools for having refused to sing the national anthem, Jana Gana Mana. A parent, V. J. Emmanuel, appealed to the Supreme Court of India for legal remedy. On August 11, 1986, the Supreme Court overruled the Kerala High Court, and directed the respondent authorities to re-admit the children into the school. The decision went on to add, "Our tradition teaches tolerance, our philosophy teaches tolerance, our Constitution practices tolerance, let us not dilute it". 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 Love anthems, then join me on twitter, facebook, instagram & soundcloud.71390122`8Up8U7U28U 8U3U  p:7U8UDpH8U@8UDpt8U8U8UDs8UD78UD@=58UE78UD=58UK78UD`78Uн8UP8UDt8U8UDt8U 8UD0t8U8U  8U,7UDЯ8U8UD@8U 8UD8U08UDа8U@8UD8UP8UD8U`8UD08Up8UDP8U8UD8U8UD 8U8UD@8U8UD8U8UD`8Uв8UD8U8UD8U8UD8U8UDp8U8UD8U 8UDб8U08UD8U@8UD8UP8UD8U`8UD 8Up8UD@8U8UD`8U8UD8U8UD8U8UD8U8UD8Uг8UD8U8UD 8U8UDP8U8UD8U8UD8U 8UD8U08UD8U@8UD08UP8UDP8U`8UDp8Up8UD8U8UD8U8UD8U8U8UD8U8UD8Uд8UD8Up85U8UD`8U8UD8U8UD8U8UD8U 8UD8U08UD8U6U@8UD`8UP8UD 8U`8UD@8Up8UD`8U8UD8U8UD8U8UD8U8UD8U8UD8Uе8UD 8U8UDp8U8UD8U8UD8U8UD8U 8UD8U08UD8U@8UD08UP8UDP8U`8UDp8Up8UD8U8UD8U8UD8U8UD8U8UD8U8UD08Uж8UDP8U8UD@8U8UD`8U8UD8U8UD8U 8UD8U08UD8U@8UD8UP8UD08U0$8U88UP3UD@g3U`$8Ua3Ux$8U)f3U$8UG3Ug7U @7U8U P8U07U2 %8U8U@ 7UDPG3UN8UD@8U{8UD@8U%8Uz8UD`8U K78UD78UPK78UD78UQ78UD88Uz8UD@8U{8UD`8Uz8UD8Uz8UD8U@8U  n8U ,7UDf:5U`8UDf:5Up8UD8U8UD8U8UD8U8UD8U8UD8U8UD08Uи8UD8U8UD8U8UD 8U8UD@8U8UD8U 8UD8U08UD8U@8UD8UP8UD8U`8UD@8Up8UDP8U8UDp8U8UD8U8UD 8U8UD8U8UD8Uй8UD0]8U8UDP]8U8UDp]8U8UD]8U8UD]8U 8UD]8U08UD ]8U@8UD`^8UP8UD8U`8UD 8Up8UD@8U8UD`8U8UD8U8UD `8U8UDf:5U8UDf:5Uк8UD8U8UD8U*8U!0.0000^p*8U!2018-04-03 13:00:45ASUOGAN for C BaritoneEuphoniumTrombone PianoesScores!0W!0W!2W!2013-04-10 17:20:43!0W!0W1SUO-GAN for C Baritone/Euphonium/Trombone & Piano trad. Keith Terrett Music for all Occasions Suo Gân arranged for C Trombone/Euphonium/Baritone, is a traditional Welsh lullaby written by an anonymous composer, used in the film Empire of the Sun starring Christian Bale. The song’s title simply means lullaby. (suo = lull; cân = song). Parts are available for Bb Trombone & Euphonium on request:keithterrett@gmail.com 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.fScor!0^/8U!0W!2017-03-31 11:44:00A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":189,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"F9485304-15FE-11E7-A7DC-9DEA3AACE64E","position-x-pc":"0"}8UdefScor!0W!128W!81W8U@98U88U8UP8UX8U8UP88U 8U88U8U8Uؐ8U88U78U8U078Ux#8U(8U8U78U88U78Uȗ8U888U8U88U`8Ux8U 88U8U8U8U 8U98U8U78Uȑ8U08UP8U8U88U8Ux78UH8UH78UȔ8U`8Ux8UЕ8Uh88U78U8UX98U@8U(8U88UX8U8Uؖ8Uh8Up8U8UH8U8U`78U(98U78U88U8Uؓ8Uh8U8U8U8U8U8U8U078U4Uй8U8UH5U8U8U(t85U8Up85U8U8Uj6U08U885UH8UI85U`8U@8U85Ux8Uxa85U7U85UP7U6U`S8U8UH4U8UX2Uh7Uh4US8U8U6US8U6US8U78Uh_2UX8U85UR8U885UxS8U85Up8U8U^i2U8UΌ2U8Un4U8U2U8U88U2Up8U88U5U`8U4U8Uhh8U\8U98U5U8U(?8Ux6o3Uм8U6Uh8U(b2U8U+_2U8U,_2U08Uh/_2UH8U6U`8U98UX:5Ux8Ux4U8Uh5o3U8Uh2U8U/_2Uؽ8U 4U8U(<8U16U8Up?8U46U 8U=4U88U45UP8UH1_2Uh8U85U8U85U8UXDe3U8U87UȾ8U؝2U8UX85U8U85U8U)6U(8U885U@8U85UX8U85Up8Up,5U8Ux85U8U=8UH85U8U85Uп8U;8U4U8U2U8U=8UX2U8U85U08UX 85UH8UH!85U`8U"85Ux8U3U8UH%85U8UH:8U&85U8U(6U8U&85UW8UhG85UX8U8<25UX8U:8U 6U0X8UZ85UHX8UP6U`X8U5UxX8UA6UX8U)_2UX8U54UX8U_85UX8U_85UX8UX?8U`85UY8Ux:8Uc`7U Y8Uf`7U8Y8U25UPY8U25UhY8U25UY8U;8U c2UY8U"c2UY8U(g85UY8Ug85UY8UW4UY8UXf85UZ8Ue85U(Z8U:8Uc85U@Z8U=8UOm2UXZ8U98U m2UpZ8U0=8UX~`2UZ8U;8U`2UZ8UHb85UZ8U<8U&_2UZ8UhAT2UZ8U8DT2U[8U>T2U[8U?8U7U0[8U4UH[8U:8UH5U`[8U >8U(t85Ux[8Up85U[8U@8Uj6U[8U885U[8UI85U[8Uh>8U85U[8Uxa85U`%8U85U$7U6Uر8U?8UH4U7UX2U$7Uh4Ux8U>8U6U8U6U 8UPA8Uh_2Uq8U85UH8U885U8U85Uq8U;8U^i2U0q8UΌ2UHq8Un4U8{8U2UP{8UB8U2Uh{8U`=8U5U8U6U\8U4U`^8UC8U5U\8U8Ux6o3UH^8Uh8Uf8U(b2Ux^8U+_2U^8U,_2U^8Uh/_2U^8U6U^8UC8UX:5U^8Ux4U_8Uh5o3U _8Uh2U8_8U/_2UP_8U 4Uh_8U`F8U16U_8UH8U46U_8U=4U_8U45U_8UH1_2U_8U85U_8U85U`8UXDe3U(`8U87U@`8U؝2UX`8UX85Up`8U85U`8U)6U`8U885U`8U85U`8U85U`8Up,5Ua8Ux85Ua8U8UH85U0a8U["71888","154165","74797","170581","182836","70437","85355","369993","33696","185861","154164","154167","75431","170379","186964","182835","104408","409070","182863"]!2020-09-25 14:08:19!1W!2019-09-25 12:44:53!2274W!0W!0W!0W!1W!650x918W!0W!0W!5.00W!2023-05-11 20:18:13!2023-05-11 20:18:24!1191755W!1591909W!0000-00-00 00:00:00!0000-00-00 00:00:00 jp/0QX*0  /0"( /0jp*0*0  (&(  (Hy8U8UW8U`K8UDu8UpK8UD0u8Up85UK8UDpu8UK8UDu8UK8UDu8UK8UDu8UK8UDu8UK8UDv8U6UK8UD0v8UK8UDz8UL8UDz8UL8UDz8U L8UDz8U0L8UD{8U@L8UD0{8UPL8UDp}8U`L8UD}8UpL8UD}8UL8UDq8UL8UDq8UL8UDq8UL8UDr8UL8UD r8UL8UD@r8UL8UD`r8UL8UDr8UM8UDr8UM8UDr8U M8U0M8U@M8UPM8U`M8UpM8UDr8UM8UDs8UM8UD s8UM8UD8UM8UD8UM8UD8UM8UDЂ8UM8UD8UM8UD 8U[8UP8U7U 3U7UR7U h7U @@E3Uh7U @83Uh7U @ 8U i7U p 8U8U 8U@7U2\8U8U 7UDP3U8UD8U08UD8UH]8U8UP78UD@r78U78UDr78U78UD88U8UD8U@8UD8U8UD8U8UD8U@8U  P8U,7UD]4UO8UD T7UO8UDT7U O8UDU7U0O8UD U7U@O8UD@U7UPO8UD]4U`O8UD`U7UpO8UD@7UO8UD`7UO8UD7UO8UDP8UO8UD8UO8UD8UO8UD8UO8UD8UO8UD8UP8UD 8UP8UD7U P8UDЂ7U0P8UD7U@P8UD 8UPP8UDІ8U`P8UD8UpP8UD8UP8UD08UP8UD7UP8UDP8UP8UDP8UP8UDp8UP8UD8UP8UD8UP8UD8UQ8UD0]4UQ8UDP]4U Q8UD8U0Q8UD8U@Q8UD 8UPQ8UD08U`Q8UD@8UpQ8UD`8UQ8UD8UQ8UD8UQ8UD08UQ8UDP8UQ8UDp8Up85UQ8UD8UQ8UDО8UQ8UD8UR8UD8UR8UD08U R8UDP8U6U0R8UD p8U@R8UD8UPR8UD08U`R8UDP8UpR8UDp8UR8UD8UR8UD8UR8UD8UR8UD8UR8UD08UR8UD8UR8UD8UR8UD8US8UD8US8UD8U S8UD 8U0S8UD@8U@S8UD`8UPS8UD8U`S8UD8UpS8US8US8US8US8US8UD8US8UD8US8UD8US8UD`8UT8UD8UT8UD08U T8UDP8U0T8UDp8U@T8UD8Uxf8U\8U85Up/_2U "85U85UP6Uf`7U6o3U 8U 8U7U2hg8U0^8U 7UDp3U 8UD p8UScores1Q98U18h8U%4845141`m5Uhh8U58166o1B6Uh8UӛI63861!484514W8U!1.99W@8U10W8U01Ave Maria for Bb Trumpet & Piano7U!60W7U!19WH7U!3W7U!2W@N8U!2020-04-08 07:40:36U!2020-04-08 07:15:44U1Giulio Caccini 1551-16188U!Keith Terrett8U!0WX8U!2020W !sibW8r8U!250W!0W1Ave Maria for Bb Trumpet (Caccini).sib!2020-04-08 07:40:36!0W!928W!0W!3hX!1HX!0W!WW!WW!0W !3^`l8UA piece for two Bb Trumpets & Piano or Keyboards, in the rumba style of Cuba, I composed this piece on a wet day in Norway, whilst picking rhubarb in my garden! The rumba was originally a marriage dance. Many of its movements and actions which seem to have an erotic meaning are merely depictions of simple farm tasks. The shoeing of the mare, the climbing of a rope, the courtship of the rooster and the hen,etc. It was done for amusement on the farms by the black population in Cuba. However it became a popular ballroom dance and was introduced into the USA about 1933. It was the Americanized version for the Cuban son and Danzon. It is in 4-4 time. The characteristic feature is to take each step without initially placing the weight on that step. Steps are taken with a slightly bent knee which when staightened, causes the hips to sway from side to side in what has come to be known as Cuban Motion! If you need a drum set part, you will find one attached to the trombone bass clef arrangement. xchangeScores!0^p8U!0W!WW!WW!0W!WW!WW!WW!2022-06-16 18:06:52U!0000-00-00 00:00:00!WW@?8U!771618W!1W<8U!3WX?8U!5.00W0:8U!2.50WP>8U!5.00W<8U!2.50W ;8U!0W;8U!WW?8U!0.00W1 (ChorusCoro a bocca chiusa)7UACopyright © 2017 MFAO (keithterrett@gmail.com@A duet for two Bb Trumpets & Piano. Find a friend and play this fun duet togther during your next performance. Parts are available on request from:keithterrett@gmail.com or!1W!1W!1W!0W!0.0000W!2014-07-06 13:21:04AHavana Rhubarb Rumba for two Bb Trumpets Piano8U!0W!0W!3W!2013-04-13 05:32:51!0W!0WaHavana Rhubarb Rumba for two Bb Trumpets & Piano Keith Terrett Music for all Occasions A piece for two Bb Trumpets & Piano or Keyboards, in the rumba style of Cuba, I composed this piece on a wet day in Norway, whilst picking rhubarb in my garden! The rumba was originally a marriage dance. Many of its movements and actions which seem to have an erotic meaning are merely depictions of simple farm tasks. The shoeing of the mare, the climbing of a rope, the courtship of the rooster and the hen,etc. It was done for amusement on the farms by the black population in Cuba. However it became a popular ballroom dance and was introduced into the USA about 1933. It was the Americanized version for the Cuban son and Danzon. It is in 4-4 time. The characteristic feature is to take each step without initially placing the weight on that step. Steps are taken with a slightly bent knee which when staightened, causes the hips to sway from side to side in what has come to be known as Cuban Motion! If you need a drum set part, you will find one attached to the trombone bass clef arrangement. fitLi!0^z8U!0W!0W!0W!2017-03-31 11:12:38A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":246,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"97E2DDF4-15FA-11E7-A453-A9F4A294607B","position-x-pc":"0"}8U}8U!0W!300W!246W=8UxC8UB8U;8Ux=8U>8U>8UB8UH@8U@B8U>8U8>8U:8UC8U(B8U=8UhA8U#8UP;8U:8U8A8UB8UA8U@8UpB8U<8U0C8U?8U?8UXB8U0@8UA8U>8UH=8UHC8U?8UA8U:8UX<8Ux@8U@8U`@8U@?8UA8Up<8UA8U=8U<8U<8U>8UB8UB8U0:8UC8Uh;8UP>8U`:8U;8U<8U@8U:8U>8U ;8Up98U;8UA8U`C8UA8UC8U A8U=8U@8U@8U8;8U@8U<8U@<8U?8U8U["186623","77889","69580","90925","76845","65107","129463","95501","30784","202728","112380","22043","63149","205031","395623","197592","91891","65106","127094"]8U!2020-09-27 18:54:53!1W!2019-09-25 12:40:35149EDBC12-DF89-11E9-BB4F-788U!22734W!283W!401W!0W!1W!650x919W!0W!0W!5.00W!2023-05-06 16:24:15!2023-05-06 16:24:30!1478128W!2422896W!0000-00-00 00:00:00!0000-00-00 00:00:00QC8U10O7Uh8U?36766uFürchtenmachen arranged for pro Brass Quintet. The complete 'Scenes from Childhood' for Brass Quintet is now published in Canada by Cherry Classics:www.cherry-classics.com U!0WhD8U11WxF8U0AFürchtenmachen arranged for pro Brass Quintet.8U!2.50W78U!0W88U!1WXd8U!0Wn8U1WW r8U8r8U0!28082;7U aJordan Grigg(b.1972)nge 1623ed by Keith Terretted by Keith Terrett7U87U!0W88U11W8U0aIndonesian National Anthem for Brass Quintet (MFAO World National Anthem Series)8U!9W8U!0W78U!3W88U!2WXd8U!2016-08-21 14:35:22U!2023-05-01 03:48:55U!19288X8U!2023W(8U!2W88U13.00W0!sibW!250W!0WAIndonesian National Anthem for Brass Quintet.sib!2023-05-01 03:31:05!0W!3537W!1WaComposed by Wage Rudolf Soepratman (1903-1938) arranged by Keith Terrett`!2017-06-09 17:10:17U!2017-06-09 22:46:50!WW8U!565021W!1WF8U!3W08U!5.00WhD8U!2.50W(8U!5.00W8U!2.50WXE8U!0WF8U!WW`8U!0.00WQ8U!Title368U 85UHa8U0F8U4U`a8U2Uxa8Uh8UX2Ua8U85Ua8UX 85Ua8UH!85Ua8U"85Ua8U3Ub8UH%85U b8UD8U&85U8b8U(6UPb8U&85Uhb8UhG85Ub8U8<25Ub8UD8U 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11:32:15A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":298,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"54DEC060-15FD-11E7-A4A2-A6F8FCAD4F8E","position-x-pc":"0"}8U*8U!0W!602W!599W8UP8U8UE8UP8UX8U8U`8U 8U8U8U8U8D8Uؓ8U8U8U@8U#8UE8UD8U8U8UВ8Uȑ8UH8U8U8U`8Ux8U08U8U8U8U 8U 8U8U8U(E8UF8UP8U8U88U8U8UF8UX8UȎ8UF8UF8UЏ8Ux8U8UhD8Uh8UE8U(8UD8UE8U8Uؐ8UD8Up8UXE8UC8UF8Up8U88U8U8U8U؍8Uh8U8UpE8U8UHF8UxF8U8U ["55027","60755","49716","30694","60774","67329","144018","99185","130391","60773","27632","144578","85276","4070","39451","27033","74289","36144","528762","54721"]tte!2020-09-26 07:29:21!1W!2019-09-25 12:43:181AAC88170-DF89-11E9-AFAE-78Scores!109481W!386W!273W!0W!1W!650x459W!0W!0W!5.00W!2023-05-04 22:46:54!2023-05-04 22:47:58!1226677W!2097878W!0000-00-00 00:00:00!0000-00-00 00:00:00W8Up8U#8UD@8U8U#8U78UD88UЬ78UD88UE8UDF8U#8UD`8U#8UD`8UP#8UD8U`#8UD8U8U  @8U-7UDh8UPU8UD i8U`U8UDPi8UpU8UDpi8UU8UDi8UU8UDi8UU8UDi8UU8UDi8UU8UDj8UU8UDj8UU8UDj8UU8UDk8UV8UD0k8UV8UDPk8U V8UDpk8U0V8UDk8U@V8UDj8UPV8UD@j8U`V8UD`j8UpV8UDj8UV8UDk8UV8UD 8UV8UDh8UV8UDh8UV8UDk8UV8UDk8UV8UDl8UV8UD0l8UW8UDPl8UW8UD8U W8UD 8U0W8UD8U@W8UD8UPW8UD8U`W8UD8UpW8UD8UW8UD8UW8UD 8UW8UD@8U8UD`8U8UD08U8UDP8U8U8UDp8U8UD8U8UD8Up85U 8UD8U08UD8U@8UD 8UP8UD@8U`8UD`8Up8UD8U6U8UD 8U8UD 8U8UD@8U8UD`8U8UD8U8UD8U8UD8U8UD8U8UD8U8UD 8U 8UD 8U08UD@8U@8UD`8UP8UD8U`8UD8Up8UD8U8UD8U8U8UD8U8UD 8U8UD@8U8UD`8U8UD8U8UD8U8UD8U8UD8U 8UD8U08UDP8U@8UDp8UP8UD08U`8UDP8Up8UDp8U8UD8U8UD8Uг8UHg8U`:5U85U 85U`f85Up5o3U)_2U=4U`8U 8U7U28U8Uش8U8Uxf7U Hv3U08UD8U 8U8UD8UE8UDF8UE8UD F8UF8UD HF8U8UD 8U@8UD8U8UD@8U8UD`8U8U  8U@-7UDк8U8UD@8U8UD8U8UD8U8UDл8U8UD8U8UD8U8UD08U8UD8U 8UD8U08UD 8U@8UD@8UP8UD8U`8UD8Up8UD8U8UD8U8UD8U8UD 8U8UD@8U8UD`8U8UDP8U8UD8U8UD8U8UD8U8UDp8U 8UD8U08UD8U@8UD8UP8UD8U`8UD8Up8UD8U8UD08U8UD8U8UD8U8UD8U8UD08U8UDP8U8UD`8U8UD8U 8UD08U 8UDP8U 8UDp8U0 8UD8U@ 8UD8UP 8UD08U` 8UDP8U8U1Э7U8UX@121184!121192W !63861W7U!4.00Wx8U11WH8U0QThe Gypsy Baritone/Euphonium Player in New Orleans (TC)8U8U!60W78U!590W8B8U!4Wh8U!1Wn8U!2022-08-15 14:43:51U!2022-08-15 14:49:01U!38X8U!0Xh8U!0Wx8U1WW0!sibW`8U!250W 8U!0Wp8UAThe Gypsy Baritone Player in New Orleans.sibU8U!2022-08-15 14:43:51U!0W8U!2174W4U!0W4U!Keith Terrett4U!WW4U!2007W4U!0W !1.20Xh8U!2020-04-08 07:40:38U!1W8U!0W8U!0W8U!WW8U!0W@8U10WP8U0!Arranged for Bb Trumpet & Piano. The very designation ‘Caccini’s Ave Maria’ is one that provokes debate. Who is Caccini? And was the piece actually anything to do with him? The answer to the first question is easy: Caccini was a sixteenth-century composer, based in Florence, and a gifted singer in his own right. To answer the second question, though, is to approach something of a minefield. No one really knows who wrote this Ave Maria – mainly because the setting didn’t come to light until the twentieth century. Although its presence on any classical crossover singer’s album is now almost guaranteed, the piece was unknown before the 1970s. One plausible reason as to why this might be is that this Ave Maria arguably wasn’t composed until then. Many argue that its creator was, in fact, one Vladimir Vavilov, a relatively unknown Russian guitarist and composer, who recorded it in 1972 and declared it to be an anonymous song. The attribution to Caccini was then supposedly made at a later date by a musician who performed with Vavilov. Whatever the truth, it’s certain that this simple melody is beloved by many. The Latvian soprano Inese Galante was the singer who captivated our hearts with her performance of it in the 1990s, and it remains a firm favourite today.tC!^^8U1© 2020 (keithterrett@gmail.com)8U!WW!2020-04-08 07:15:44U!0000-00-00 00:00:00!WWP8U!969351W!0W8U!0Wh8U!0.00W@8U!4.39W`8U!2.40Wȗ8U!0W08U!0W8U!1W8U!0W!1W8U!0W1WWP8Ux8U0!1^ 8U!0W!0.0000W!2020-04-08 07:42:411Ave Maria for Bb Trumpet PianoeScores!0W!0W!4W!0000-00-00 00:00:00!0W!0WAve Maria for Bb Trumpet & Piano Giulio Caccini 1551-1618 Keith Terrett Music for all Occasions Arranged for Bb Trumpet & Piano. The very designation ‘Caccini’s Ave Maria’ is one that provokes debate. Who is Caccini? And was the piece actually anything to do with him? The answer to the first question is easy: Caccini was a sixteenth-century composer, based in Florence, and a gifted singer in his own right. To answer the second question, though, is to approach something of a minefield. No one really knows who wrote this Ave Maria – mainly because the setting didn’t come to light until the twentieth century. Although its presence on any classical crossover singer’s album is now almost guaranteed, the piece was unknown before the 1970s. One plausible reason as to why this might be is that this Ave Maria arguably wasn’t composed until then. Many argue that its creator was, in fact, one Vladimir Vavilov, a relatively unknown Russian guitarist and composer, who recorded it in 1972 and declared it to be an anonymous song. The attribution to Caccini was then supposedly made at a later date by a musician who performed with Vavilov. Whatever the truth, it’s certain that this simple melody is beloved by many. The Latvian soprano Inese Galante was the singer who captivated our hearts with her performance of it in the 1990s, and it remains a firm favourite today.!0^8U!0W!0W!0W!0000-00-00 00:00:00!WW!0W!480W!360W8U8U8U8U8U8U8U8UX8UP8Uؙ8UH8U8U8U88U8Ux8U#8U`8UЕ8UH8U8U8U8U8U8U@8U8U8Uh8U@8U8U8UX8UX8UȚ8U8U8Uh8U8UЛ8Up8UP8U8U8U8U8U8U8U8U8U 8U@8U8Ux8U`8Up8U8Uȗ8U8U8U8U08U8U8U8Up8U؜8U(8U08U8U8U8UH8U8U 8UP8U8U8U!0.00^@8U["186392","391105","40927","198142","74299","74302","198359","95596","136995","73301","31857","38077","53468","36245","38076","391123","101119","186439","77385","129194"]8UdefScor!2020-09-16 19:37:55!1W!2020-04-06 14:59:061C7C0AEBA-780E-11EA-AEE7-788383FEA0E1U!10077W!0W!0W!0W!1W!650x920Wh4U7U8U6U^8U6U^8U`8Uh_2UH(8U85U@]8U885U]8U85U`(8Uؖ8U^i2Ux(8UΌ2U(8Un4U28U2U28U8U2U28U8U5Uд8U6U8U4U88Up8U5U8Up8Ux6o3U 8UpK8U8h8U8U(b2UP8U+_2Uh8U,_2U8Uh/_2U8U6U8U8UX:5Uȶ8Ux4U8Uh5o3U8Uh2U8U/_2U(8U 4U@8Up8U16UX8U8U46Up8U=4U8U45U8UH1_2U8U85Uз8U85U8UXDe3U8U87U8U؝2U08UX85UH8U85U`8U)6Ux8U885U8U85U8U85U8Up,5Uظ8Ux85U8U`8UH85U8U85U 8U@8U4U88U2UP8U8UX2Uh8U85U8UX 85U8UH!85U8U"85Uȹ8U3U8UH%85U8U8U&85U8U(6U(8U&85U@8UhG85UX8U8<25U8U8U 6U8UZ85U8UP6U8U5U8UA6U08U)_2UH8U54U`8U_85Ux8U_85U8U8U`85U8U8Uc`7U8Uf`7U8U25U8U25U8U25U 8U8U c2U88U"c2UP8U(g85Uh8Ug85U8UW4U8UXf85U8Ue85U8U`8Uc85U8U8UOm2U8U08U m2U8Ux8UX~`2U(8UP8U`2U@8UHb85UX8U08U&_2Up8UhAT2U8U8DT2U8U>T2U8U8U7U8U4U8U 8UH5U8Uh8U(t85U8Up85U08U`8Uj6UH8U885U`8UI85Ux8U8U85U8Uxa85U7U85U(8U6UȪ8UX8UH4U8UX2U(7Uh4U7U(8U6UX8U6Up8U8Uh_2U28U85U8U885U@8U85U(7U8U^i2U@7UΌ2UX7Un4UH7U2U`7U08U2Ux7U8U5U08U7Uh8U(8U6U8U8U5U8U8Ux6o3U8U4U8U(b2U8U+_2U08U,_2UH8Uh/_2U`8U6Ux8U88UX:5U8Ux4U8Uh5o3U8Uh2U8U/_2U8U 4U8U8U16U 8U@8U46U88U=4UP8U45Uh8UH1_2U8U85U8U85U8UXDe3U8U87U8U؝2U8UX85U8U85U(8U)6U@8U885UX8U85Up8U85U8Up,5U8Ux85U8U8UH85U8U85U8Ux8U4U8U2U8U8UX2U08U85UH8UX 85U`8UH!85Ux8U"85U8U3U8UH%85U8U8U&85U8U(6U8U&85U8U8 8U!0^p8U!0W!5.00W!2023-03-08 07:26:05!2023-03-08 07:26:22!1231113W!1655572W!0000-00-00 00:00:00!0000-00-00 00:00:008U8Up85Up 8UD8U 8UD8U 8UD8U 8UD8U 8UD8U 8UD08U6U 8UDP8U 8UDp8U 8UD8U!8UD8U!8UD8U !8UD8U0!8UD8U@!8UDP8UP!8UDp8U`!8UD8Up!8UDP8U!8UDp8U!8UD8U!8UD8U!8UD8U!8UD8U!8UD8U!8UD08U!8UDP8U"8UDp8U"8UD8U "8UD8U0"8UD8U@"8UD8UP"8U`"8UD8Up"8UD08U"8UD8U"8UD8U"8UD8U"8UD8U"8UD8U"8UD8U"8UD 8U8U8U4U`85Ue85U8U@3U "P=8UU3UD93U@8Uh7U8U 8U7U28U8U8Uq8U07U 7U8UDp8U8U@8UD`p8UF8UD@HF8U F8UDHF8UMF8UD wF8U8U8UDq8UP8UDp8U`8UDp8U8U  8U-7UD 8U#8UD 8U$8UD`8U$8UD8U $8UD8U0$8UD8U@$8UD8UP$8UD8U`$8UD8Up$8UD8U$8UD8U$8UD8U$8UD@8U$8UD`8U$8UD8U$8UD8U$8UD 8U$8UD`8U%8UD8U%8UD8U %8UD8U0%8UD  8U@%8UDо8UP%8UD8U`%8UDp8Up%8UD8U%8UD8U%8UD8U%8UD8U%8UD8U%8UD 08U%8UD8U%8UD8U%8UD8U&8UD8U&8UD 8U &8UD@8U0&8UD `q8U@&8UD`8UP&8UD8U`&8UD8Up&8UD8U&8UD8U&8UD8U&8UD8U&8UD08Up85U&8UDp8U&8UD8U&8UD8U&8UD8U'8UD8U'8UD8U6U '8UD {8U0'8UDp8U@'8UD8UP'8UD8U`'8UDІ8Up'8UD8U8UD8U8UD08U8UDP8U8UDp8U 8UD8U08UD08U@8UDP8UP8UDp8U`8UD8Up8UD8U8UD8U8U8UD8U8UD8U8UD08U8UDP8U8UDp8U8UD8U8UD8U8UD8U 8UD8U08UD8U@8UD 8UP8UD8U`8UD8Up8UD 8U8UD@8U8UDp8U8Uh8U 8U7U 8UP7U 8UR7U Hi7U @<3U7U 3U8U `8U7U28U8U@8UD`>8U?D3U;6Uh8UQ8U ah PX08HP 8@NP*0 8U= FH (`8UPL8U8UA 8U  Fx  (8UapP5U 8Ul萿4Ua.f3U hU8U萿4UQ@8U8U73U 8UQC2U8UL0&SE_SMD_Product_get_infoa 8U@8U萿4U1xc8U>8U! 8U7U1 xP8S 8U(8U ?8UX 8U0?8U؇5U8:8U` 8Ul8Uh;8Uv=8UEA8U 8Uh<8U ;8U=8Uؤ8U`8U8UD 8U<8U;8U=8U`88UP8U4U4U4U4U4U4U!PriceW!CurrencyW!ReleaseDate!LastUpdated!DeletedW !AllowReviewsU !2011]8U!2Wa An arrangement of Lassus Trombone for Brass Quintet, a great arrangement for your next performance! When I was in the British Army with ''The Band of the Queen's Royal Irish Hussars''; this piece featured on most concerts, with the band's Principal Trombone Kevin Riley performing it brilliantly. Kevin has a store here on Score Exchange; check out his page for some great music. Fillmore wrote over 250 pieces and arranged orchestrations for hundreds more. He published under a variety of pseudonyms, including Gus Beans, Harold Bennett, Ray Hall, Harry Hartley, Al Hayes, and Henrietta Moore. Only the name Will Huff caused any issues, as another Will Huff composed marches and resided in Fillmore’s state. While best known for march music and screamers, he also wrote waltzes, foxtrots, hymns, novelty numbers, and overtures. Fillmore’s best known compositions include: "The President’s March" "The Footlifter" "Americans We" "Men of Ohio" "His Honor" "The Klaxon" "Lassus Trombone" "(We’re) Men of Florida" "Military Escort" "Mt. Healthy" "The Crosley March" "Noble Men" "Orange Bowl March" "Rolling Thunder March" "The Circus Bee" "King Karl King" Fillmore gained fame as the "Father of the Trombone Smear’’, writing a series of 15 novelty tunes featuring trombone smears called "The Trombone Family". A number of these have a strong ragtime influence. All of Fillmore’s trombone rags are as follows: Music to Fillmore’s popular "Trombone Family" series "Miss Trombone" (1908) "Teddy Trombone" (1911) "Lassus Trombone" (1915) "Pahson Trombone" (1916) "Sally Trombone" (1917) "Slim Trombone" (1918) "Mose Trombone" (1919) "Shoutin’ Liza Trombone" (1920) "Hot Trombone" (1921) "Bones Trombone" (1922) "Dusty Trombone" (1923) "Bull Trombone" (1924) "Lucky Trombone" (1926) "Boss Trombone" (1929) "Ham Trombone" (1929) Occasionally, as in "The Footlifter" credit, Fillmore wrote with the name Harold Bennett. 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.8U!18\`8U!0W!WW!WW!0W!WWQCopyright © 2011 MFAO (keithterrett@gmail.com) Edited 2013hangeScores!WW!1Y8U!0W!WW8U!0.00W["88308","168223","140556","78183","140617","151528","59699","140520","188994","4062","75247","140618","173346","23092","4413","31140","79766","100330","32625","79408"]8U8U!2020-09-09 18:32:29U!1WX8U!2019-09-25 13:11:371A0089F78-DF8D-11E9-B6D0-788U8U!7898W8U!0W !0ZScores!WWtSize!0.0000WScores6!2020-05-04 12:12:04ormaALassus Trombone for Trombone Brass QuartetalVersionDat!0Ye8U!0WScores:!5WtAttempt!0000-00-00 00:00:00empt!0Whange!0WurchaseQ!0000-00-00 00:00:00aseQ!WWScoreExc!640899WMinimumP!0Ws8U!0WetOfPart!0.00WSE::Scor!9.99W5504202!6.00W1352651!0W8U!0W8U!1W8U10W40:17.1283782020  vx$( 8@,0 hp58'(  ,0%()0 P X ;@ +0 17644911'8UPZ121426!121430W !121527WS8UQIntroduction and Allegro for Quintet Clarinet 2 Violins Viola CelloaIntroduction and Allegro for Quintet (Clarinet, 2 Violins, Viola, Cello)8U8U!52W@8U!0W%8U!4WHS8U!2W8U!2017-10-18 23:32:44U!2017-12-02 10:50:39U!88XpQ68U!WWQ68U!18.95WP68U11W0!sibW8U!1883W;8U!0WP3U1Introduction and Allegro.sibU!2017-10-18 23:32:44!0W!2060W!0W!Jordan Grigg!Jordan Grigg!2001W!2009W Sonata No.1 1987 Sonata No. 2 1988trical production of The Battle of Troya play entitled Madame Butterfly: A Tragedy of Japan. In the play, “Butterfly,” a Japanese geisha, abandoned by her American naval officer husband, Pinkerton, awaits his return. Puccini immediately grasped the operatic potential in the play’s doomed love story and clash of cultures. Yet one scene in particular—created by the play’s writer, producer and director, David Belasco—inspired him most of all. Butterfly sits in the center of the stage, holding an overnight vigil, awaiting Pinkerton’s long-overdue return. For several long minutes, she does not speak. Time passes. The sun sets, the stars come out, fade, and then the sun rises again. In the audience, Puccini and those around him truly empathized with Butterfly. The powerful staging eliminated all the distractions, allowing them to focus solely on her emotional plight. It was at that moment that Puccini not only resolved to make Butterfly his next opera, but he also decided to make Butterfly’s vigil an arresting musical moment. Such a long stretch of silence had never been explored in opera and he was determined to see it come to life on the operatic stage. Puccini’s Madame Butterfly premiered in 1904. In the opera, Butterfly’s vigil became the “Coro a bocca chiusa” or “The Humming Chorus.” This is a moment of calm, when Butterfly peacefully (and silently) waits for Pinkerton. It’s one of the most compelling moments in the opera, when the audience sees Butterfly’s optimism for the last time, before it is utterly shattered by the arrival of Pinkerton and his new wife. The emotional effect Belasco achieved through silence, Puccini achieves through the exquisitely beautiful melody sung by the wordless, offstage chorus. It is one thing to hear the music of “The Humming Chorus,” but to understand the full emotional weight of the piece, it must be seen live in its proper context. Our production of Madame Butterfly takes an arresting approach to the iconic scene. Butterfly’s plight is grasped through the loyalty of her servant, Suzuki. As Butterfly and her son calmly wait for Pinkerton, backs turned from the audience, Suzuki has her moment and it becomes clear that she’s skeptical about whether Pinkerton will ever return, but struggles to support Butterfly nonetheless. It is a beautiful moment in a production infused with similarly important directorial details that Puccini would have found inspiring. uth Congress.[5] Distribution [edit] Following the Second Youth Congress, the text of Indonesia was distributed by many political and student organizations. The press also played a key role in the publication of the song. On 7 November 1928, the Soeloeh Ra’jat Indonesia daily published the text to the song. This was followed by the Sin Po Chinese weekly on 10 November.[6] In 1929, Wage Rudolf Supratman changed the title of his song to "Indonesia Raya" and appended the phrase National Anthem of Indonesia below it, but the text of the song did not change. Supratman personally printed and distributed copies of the song with its new title through pamphlets. All one thousand copies of the manuscript were sold within a short amount of time to his friends and family.[7] A businessman friend of his, Yo Kim Tjan, also expressed interest in recording "Indonesia Raya". With Supratman’s consent, Yo created a copy of the song on a gramophone record overseas in order to obtain the best sound quality with the intention of bringing the copy back to Indonesia. However, before Yo was able to do so, Dutch colonial authorities had imposed a ban on the song. Yo was unable to bring the original back but was able to bring home a copy. According to Yo, Supratman had also given him the rights to sell record copies of "Indonesia Raya" through his store Toko Populair.[8] Orchestral rendition [edit] The neutrality of this section is disputed. Please do not remove this message until the dispute is resolved. (October 2012) Jozef Cleber a Dutch musician that arrived with a patron of 46 persons of Philharmonic Orchestra under direction of Yvon Baarspul was sent by the Netherlands Government to help the Indonesian Government for music development in Jakarta. "Jos" Cleber (34 years old), in his hometown was an experienced arranger for popular songs, and also successfully for Indonesian pop song arrangements, like Di Bawah Sinar Bulan Purnama and Rangkaian Melati, was asked to make a new arrangement the "Indonesia Raya" anthem by President Soekarno in 1950. Until then, there was no orchestral rendition of the anthem. President Soekarno made an appeal to Cleber to compose a symphonic rendition of "Indonesia Raya". The final rendition is in common use today. The arrangements starts with a Tutti of strings and trumpets (in Verse A) that represents a brave and an elegant sound, and in the middle of the song (in Verse B) is played smoothly by strings, and finally (in Verse C) comes another Tutti of strings and trumpets, together with the timpani and cymbals make it a brave sound for a national anthem that respected by the people. The original recording was recorded by the Cosmopolitan Orchestra under the direction of Jos Cleber, and it was recorded on Phillips tape in 1951 by the Radio of Jakarta. Then it was digital re-recorded in 1997 in Australia based on Jos Cleber partiturs that stored in Jakarta, and it was played again by the Victorian Philharmonic under direction of Addie MS. In 1951, ownership of the copyright to "Indonesia Raya" came into question. President Sukarno ordered a search for the rightful heir to Supratman. By law, Supratman was the copyright holder of "Indonesia Raya" as its composer. After Supratman’s death in 1938, ownership of the rights to his works fell upon the designated heirs, his four surviving sisters. However, because "Indonesia Raya" was officially adopted as the national anthem of Indonesia on 17 August 1945, the work became the property of the state. In addition, the name of "Wage Rudolf Supratman" must be listed as its creator. As a national anthem, copies of "Indonesia Raya" cannot be circulated as merchandise to be sold. Consequently, the government had the obligation to obtain all the rights to distribute the song, including the original recording, from Yo Kim Tjan. In 1958, the government obtained the sole right to "Indonesia Raya" from Supratman’s family. The following year, Yo handed the original record of the song to the Indonesian government. With the recommendation of the Department of Education, the government also rewarded Supratman’s sisters with 250,000 Indonesian rupiah each on 31 May 1960. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 fScoreExchangrranged for Concert Band, Puccini's Humming Chorus makes a haunting addition to your band's repertoire. When Giacomo Puccini saw David Belasco’s play Madame Butterfly in London in 1900, he fell in love with the production. Belasco was a true man of the theatre, known for his spectacular stage effects. Madame Butterfly featured the heroine’s magnificent ‘all-night’ vigil for her husband Pinkerton. Butterfly sat on stage in silence for 14 minutes, while subtle shifts of light illustrated the passage from dusk to dawn – the first time, Belasco claimed, that electricity had been used for a poetic purpose. Puccini knew he would need to come up with music that was equally poetic for his operatic vigil. He certainly succeeded. The ‘Humming Chorus’ has become one of the most famous of opera excerpts. It is often played over loudspeakers in Glover Garden, Nagasaki, where young lovers come (perhaps unwisely) to be photographed at a shrine dedicated to Butterfly. It’s also had some surprising reincarnations in film: in Heavenly Creatures (1994) it’s heard as two adolescent girls plan the murder that they hope will free them to love each other; and in M. Butterfly, partly inspired by Puccini’s opera, a French diplomat listens to the ‘Humming Chorus’ as he yearns for his (male) Chinese lover.ident of Indonesia. Indonesian Youth Congress [edit] Main article: Indonesian Youth Congress In 1928, youths from across Indonesia held the first Indonesian Youth Congress, an official meeting to push for the independence of the nation. Upon hearing about the efforts, young reporter Wage Rudolf Supratman contacted the organizers of Congress with the intention of reporting the story, but they requested that he not publish the story from fear of Dutch colonial authorities. The organizers wanted to avoid suspicion so that the Dutch would not ban the event. Supratman promised them this, and the organizers allowed him free access to the event. Supratman, who was also a musician and also a teacher, was inspired by the meetings and intended to write a song for the conference. After receiving encouragement from the conference leader Sugondo Djojopuspito, Supratman played on the violin the song Indonesia with the hope that it would someday become a national anthem. He kept the script to himself because he felt that it was not the appropriate time to announce it.[4] Supratman first performed Indonesia on the violin on 28 October 1928 during the Second Indonesian Youth Congress.[5] Distribution [edit] Following the Second Youth Congress, the text of Indonesia was distributed by many political and student organizations. The press also played a key role in the publication of the song. On 7 November 1928, the Soeloeh Ra’jat Indonesia daily published the text to the song. This was followed by the Sin Po Chinese weekly on 10 November.[6] In 1929, Wage Rudolf Supratman changed the title of his song to "Indonesia Raya" and appended the phrase National Anthem of Indonesia below it, but the text of the song did not change. Supratman personally printed and distributed copies of the song with its new title through pamphlets. All one thousand copies of the manuscript were sold within a short amount of time to his friends and family.[7] A businessman friend of his, Yo Kim Tjan, also expressed interest in recording "Indonesia Raya". With Supratman’s consent, Yo created a copy of the song on a gramophone record overseas in order to obtain the best sound quality with the intention of bringing the copy back to Indonesia. However, before Yo was able to do so, Dutch colonial authorities had imposed a ban on the song. Yo was unable to bring the original back but was able to bring home a copy. According to Yo, Supratman had also given him the rights to sell record copies of "Indonesia Raya" through his store Toko Populair.[8] Orchestral rendition [edit] The neutrality of this section is disputed. Please do not remove this message until the dispute is resolved. (October 2012) Jozef Cleber a Dutch musician that arrived with a patron of 46 persons of Philharmonic Orchestra under direction of Yvon Baarspul was sent by the Netherlands Government to help the Indonesian Government for music development in Jakarta. "Jos" Cleber (34 years old), in his hometown was an experienced arranger for popular songs, and also successfully for Indonesian pop song arrangements, like Di Bawah Sinar Bulan Purnama and Rangkaian Melati, was asked to make a new arrangement the "Indonesia Raya" anthem by President Soekarno in 1950. Until then, there was no orchestral rendition of the anthem. President Soekarno made an appeal to Cleber to compose a symphonic rendition of "Indonesia Raya". The final rendition is in common use today. The arrangements starts with a Tutti of strings and trumpets (in Verse A) that represents a brave and an elegant sound, and in the middle of the song (in Verse B) is played smoothly by strings, and finally (in Verse C) comes another Tutti of strings and trumpets, together with the timpani and cymbals make it a brave sound for a national anthem that respected by the people. The original recording was recorded by the Cosmopolitan Orchestra under the direction of Jos Cleber, and it was recorded on Phillips tape in 1951 by the Radio of Jakarta. Then it was digital re-recorded in 1997 in Australia based on Jos Cleber partiturs that stored in Jakarta, and it was played again by the Victorian Philharmonic under direction of Addie MS. In 1951, ownership of the copyright to "Indonesia Raya" came into question. President Sukarno ordered a search for the rightful heir to Supratman. By law, Supratman was the copyright holder of "Indonesia Raya" as its composer. After Supratman’s death in 1938, ownership of the rights to his works fell upon the designated heirs, his four surviving sisters. However, because "Indonesia Raya" was officially adopted as the national anthem of Indonesia on 17 August 1945, the work became the property of the state. In addition, the name of "Wage Rudolf Supratman" must be listed as its creator. As a national anthem, copies of "Indonesia Raya" cannot be circulated as merchandise to be sold. Consequently, the government had the obligation to obtain all the rights to distribute the song, including the original recording, from Yo Kim Tjan. In 1958, the government obtained the sole right to "Indonesia Raya" from Supratman’s family. The following year, Yo handed the original record of the song to the Indonesian government. With the recommendation of the Department of Education, the government also rewarded Supratman’s sisters with 250,000 Indonesian rupiah each on 31 May 1960. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 Americe8U!1.50X`8U!2023-05-01 03:31:57U!1W8U!0W8U!0W8U!0X8U!0W88U11WH8U0!0X]`f8U!WW!WW!0W!WWQ© 2013 Music for all Occasions (keithterrett@gmail.com)8Us follow!WW!2023-05-01 03:48:53U!2017-06-09 18:53:27!WWH8U!784882W!1W8U!3W`8U!8.00W88U!5.00WX8U!8.00W8U!5.00W(8U!0W8U!WW8U!0.00W!0000-00-00 00:00:00U!0000-00-00 00:00:001SE_Score_save_datae_save_data0!0\i8U!WW!0.0000W!2016-08-21 14:39:35aIndonesian National Anthem for Brass Quintet MFAO World National Anthem Seriesmy store,!0W!0W!6W!0000-00-00 00:00:00!0W!0W!0(\ k8U!0W!0W!0W!2017-03-31 10:56:03A{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":197,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"46E9649C-15F8-11E7-B76D-B7F7155F0E47","position-x-pc":"0"}], "/us!0Wrcascade!276We_alt_tr!182Weight" :["88308","168223","140556","78183","151528","59699","140617","140520","140618","188994","75247","4062","173346","23092","4413","107764","32625","79766","155425","6032"] : 106.5, "i!2020-09-22 10:08:177-A2!1Wn-x-pc" !2019-09-25 12:38:2204 01FA71AFC2-DF88-11E9-B6D0-78000.009.9!1605W["88308!288W83","140!223W40520","!0W140618",!1W"31140",!650x501W,"79408"!0W2019-09-!0WD-11E9-B!5.00W0x9190!2023-05-01 03:31:01023-!2023-05-01 03:31:04090!1411168W00-00 00!1595450W 1 An super arrangement of Lassus Trombone for Brass Quintet. Fillmore wrote over 250 pieces and arranged orchestrations for hundreds more. He published under a variety of pseudonyms, including Gus Beans, Harold Bennett, Ray Hall, Harry Hartley, Al Hayes, and Henrietta Moore. Only the name Will Huff caused any issues, as another Will Huff composed marches and resided in Fillmore’s state. While best known for march music and screamers, he also wrote waltzes, foxtrots, hymns, novelty numbers, and overtures. Fillmore’s best known compositions include: "The President’s March" "The Footlifter" "Americans We" "Men of Ohio" "His Honor" "The Klaxon" "Lassus Trombone" "(We’re) Men of Florida" "Military Escort" "Mt. Healthy" "The Crosley March" "Noble Men" "Orange Bowl March" "Rolling Thunder March" "The Circus Bee" "King Karl King" Fillmore gained fame as the "Father of the Trombone Smear’’, writing a series of 15 novelty tunes featuring trombone smears called "The Trombone Family". A number of these have a strong ragtime influence. All of Fillmore’s trombone rags are as follows: Music to Fillmore’s popular "Trombone Family" series "Miss Trombone" (1908) "Teddy Trombone" (1911) "Lassus Trombone" (1915) "Pahson Trombone" (1916) "Sally Trombone" (1917) "Slim Trombone" (1918) "Mose Trombone" (1919) "Shoutin’ Liza Trombone" (1920) "Hot Trombone" (1921) "Bones Trombone" (1922) "Dusty Trombone" (1923) "Bull Trombone" (1924) "Lucky Trombone" (1926) "Boss Trombone" (1929) "Ham Trombone" (1929) Occasionally, as in "The Footlifter" credit, Fillmore wrote with the name Harold Bennett. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett. ? Lassus Trombone for Trombone & Brass Quartet Henry Fillmore Arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement of Lassus Trombone for Brass Quintet, a great arrangement for your next performance! When I was in the British Army with ''The Band of the Queen's Royal Irish Hussars''; this piece featured on most concerts, with the band's Principal Trombone Kevin Riley performing it brilliantly. Kevin has a store here on Score Exchange; check out his page for some great music. Fillmore wrote over 250 pieces and arranged orchestrations for hundreds more. He published under a variety of pseudonyms, including Gus Beans, Harold Bennett, Ray Hall, Harry Hartley, Al Hayes, and Henrietta Moore. Only the name Will Huff caused any issues, as another Will Huff composed marches and resided in Fillmore’s state. While best known for march music and screamers, he also wrote waltzes, foxtrots, hymns, novelty numbers, and overtures. Fillmore’s best known compositions include: "The President’s March" "The Footlifter" "Americans We" "Men of Ohio" "His Honor" "The Klaxon" "Lassus Trombone" "(We’re) Men of Florida" "Military Escort" "Mt. Healthy" "The Crosley March" "Noble Men" "Orange Bowl March" "Rolling Thunder March" "The Circus Bee" "King Karl King" Fillmore gained fame as the "Father of the Trombone Smear’’, writing a series of 15 novelty tunes featuring trombone smears called "The Trombone Family". A number of these have a strong ragtime influence. All of Fillmore’s trombone rags are as follows: Music to Fillmore’s popular "Trombone Family" series "Miss Trombone" (1908) "Teddy Trombone" (1911) "Lassus Trombone" (1915) "Pahson Trombone" (1916) "Sally Trombone" (1917) "Slim Trombone" (1918) "Mose Trombone" (1919) "Shoutin’ Liza Trombone" (1920) "Hot Trombone" (1921) "Bones Trombone" (1922) "Dusty Trombone" (1923) "Bull Trombone" (1924) "Lucky Trombone" (1926) "Boss Trombone" (1929) "Ham Trombone" (1929) Occasionally, as in "The Footlifter" credit, Fillmore wrote with the name Harold Bennett. 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.SM_Score!0xXhange!1WnalRevie!29Ww04-23 !36WScores1!2017-11-22 14:02:26U12020-05-04 03:43:02UScoreExc0h8U8U8U8U8U؈8U  ?X8U`8U88UH8U(8U 8U<  @!8U8U8U8Up8Uh8U @!defUScoreExchangeLibraryTextULibraryTextIDIDdef ScoreExchangeLibraryText!LibraryTextTypeUTypeUdefUScoreExchangeLibraryTextLibraryTextTextText!x8U8Uh8Up8UP8UH8U!8Uȍ8U8U8U8U8UQ!8U8U8U8U؍8UЍ8U !P8UX8U@8UH8U(8U 8U !defa prinformation_schemae" coCOLUMNSCOLUMNSField> COLUMN_NAMEtwitdefcardinformation_schemalargeCOLUMNSCOLUMNSTypetwiCOLUMN_TYPEontedef@scoinformation_schemaname=COLUMNSCOLUMNSCollation"@scorCOLLATION_NAMEtdefme="information_schemaent="COLUMNSCOLUMNSNulletaIS_NULLABLEer:ddefiptiinformation_schemaSCRIPCOLUMNSCOLUMNSKeynameCOLUMN_KEYmage"deftentinformation_schema
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BBments.FamilyID='3' ORDER BY CommonInstruments.Ord tations.ID = InstrumentationsInGroups.InstrumentationID WHERE InstrumentationGroupID ='18' ORDER BY Instrumentations.Ord, Instrumentations.Name 15-07-08 14:19:0700000100.00002015-07-08 14:21:05Sonata No 1 2 for Solo Viola00182013-04-17 07:26:2200QSonata No. 1 & 2 for Solo Viola Jordan Grigg Sonata No.1 1987 Sonata No. 2 198800000000-00-00 00:00:000002017-06-09 17:10:170000-00-00 00:00:00422370000.006.950.0000.00["64572","38601","138469","53125","67258","64027","69394","129311","121398","17293","82675","69367","69392","10334","69393","69390","57032","520997","72622"]2020-09-11 19:35:1110000-00-00 00:00:0000001650x840005.002023-04-30 14:15:042023-04-30 14:15:41509580584106270000-00-00 00:00:000000-00-00 00:00:0000:00:002023-04-23 22:41:5790866912474310000-00-00 00:00:000000-00-00 00:00:0000206240000.009.503.0000.00["94121","159394","91831","186907","139317","119599","393952","119598","193400","118720","141096","149400","197408","161668","186682","186654","142309","159557","186661","120163"]2020-08-30 03:04:4012019-09-25 13:10:427F3A7410-DF8D-11E9-B562-789298200001650x839005.002023-04-23 20:31:222023-04-23 20:32:4911791238172661630000-00-00 00:00:000000-00-00 00:00:00s first composition lessons in the fields of harmony, ear training and dictation at the age of 9 with Alan Grigg, his Uncle. Jordan started playing in the NSYO when he was 10, switching to viola at 15 and winning several awards in festivals and competitions both at the local, provincial and national levels. Some of his repertoire included Viola Concertos by Bartok, Walton, Hoffmeister and Stamitz, the complete Cello Suites by Bach and several smaller works by Hindemith and Reger. He was accepted to the NYO when he was 18 years and was soloist with Symphony Nova Scotia in performances of the Stamitz Viola Concerto. His studies have focused on viola performance, conducting, composition and music education. He studied at the New England Conservatory of Music and Acadia University where some of his instructors have been Walter Trampler, Mstislav Rostropovich, John Felice, Gunther Schuller, Joseph Maneri, Pascal Verrot, Benjamin Zander, John Cage, Alan Hoffman, Owen Stephens and Christoph Both. His first chance to conduct an ensemble came at the age of 14, when he was asked to conduct the local school band. After that he conducted the New Minas Concert Band at the age of 16. On returning to Nova Scotia he conducted the Acadia’s Brass, Percussion, and Wind Ensembles, as well as the Acadia Symphony Orchestra. For 2 years, 2000-2002, he directed his own ensemble called Trias Harmonicas and from 2002-2005 he conducted the Chebucto Symphony Orchestra in Halifax. He has conducted performances of La Boheme by Puccini and Cavalleria Rusticana by Mascagni as well as symphonies, overtures, concertos and concert pieces of Beethoven, Mozart, Copland, Debussy, Shostakovich, Stravinsky, Sibelius and many others. He has also conducted premiers of several Canadian compositions and also his own works. He has been the music director for many theatre productions, working as a composer/vocal coach, violinist, pianist and conductor with Acadia Theatre Company, Centre Stage Theatre, Atlantic Theatre Festival and Ross Creek Centre for the Arts. He worked with numerous churches in the fields of pianist, organist, music and choral director namely St. Francis Chapel in Boston MA, New Minas United, Pereau Baptist, Kings Presbyterian, Cambridge Baptist, First Cornwallis Baptist, South Alton, Coldbrook and Centreville Baptist. Jordan for a short time produced his own orchestra: AVSO or Annapolis Valley Symphony Orchestra in 2007 and ending its first concert with a standing ovation. He has conducted orchestras in the USA, Canada, South Korea and especially Italy where he was invited by the Teatro di Meruchini in Chieti, to conduct a performance of L’histoire du Soldat by Stravinsky. He has had his compositions performed by a variety of ensembles such as the Nova Scotia Youth Orchestra, Symphony Nova Scotia, Annapolis Valley Honour Choir, New England Philharmonia and Symphony Orchestra as well as having these recorded on CD and aired on the CBC. His well known Three Sketches for Orchestra has had over 10 performances. Most recently he has had performances of his works in Southern Victoria (Australia), China, Africa, San Antonio (Texas) and the Columbia College Symphony of the Sierra (California). There was the Russian Premiere of his work Serenity for trumpet and small orchestra by a Youth Orchestra under the direction of Vyacheslav Shaldysheva performed at the Concert Hall of the Novosibirsk music school and yet another premiere of his small Concert Band work March by the Midleton Junior Concert Band under the direction of Robert O’Brien at the 50th National Band Championships of Ireland in the CIT Cork School of Music. More recently there was the premiere of his choral work Angels by the the award winning HNMCS Senior Choir under the direction of Helen Filipe and there will be an up and coming performance of his work C-H-R-I-S-T-M-A-S for large orchestra and chorus by the Gwinnett Symphony Orchestra and Chorus in December 2017. In March 2018 his Rustic Country Dance was performed by the Random Quartet in Italy. He has composed music for over 30 plays/musicals/films and composed 41 symphonies, 41 string quartets, plus many other orchestral, chamber and choral works. His entire catalogue totals more 1500 works for orchestra, film and several different ensembles. He was awarded Honorable Mention in the 2007 Adagio Contest held by the Fauxharmonic Orchestra in Baltimore, Maryland for his large string orchestra work Dolente and more recently 1st place in the 2015 SHSU-BMF International Composition Competition presented by Sam Houston State University and the Bolivian Music Festival with his composition Concerto Semplice for two violins and orchestra. Performances have been with the Bolivian Music Festival Orchestra in La Paz, Bolivia and the Sam Houston Symphony Orchestra in Huntsville, Texas with featured violin soloists Javier Pinell and Naomi Gjevre. His latest commissioned work was Land of Hope and Beauty for large symphonic band, a work commissioned by Louis Sinoff which celebrates the history of New Mexico. He has been regularly commissioned from music ensembles and individuals in the United States, Italy, Australia and Switzerland to write original works but also jazz, tango, musical and opera arrangements, large orchestral and symphonic band works as well as several small ensemble pieces. He has sold a number of his own compositions throughout Europe, Asia, Africa, UK and Australia as well as Canada and USA. His Symphony No. 15 was recently inducted into the Edna St. Vincent Millay Library in New York. Several of his own original compositions have been used in Doctoral Thesis works, recitals and competitions and have also been compiled into discographies in numerous universities across North America. Teaching and conducting since 1992 through a number of schools (Wolfville and Horton School Strings, Cambridge Elementary School Strings, Landmark East, Kings-Edgehill, Berwick and District) and academies (Annapolis Music Academy, Dorian Hall), he now teaches and conducts at his own studio in the fields of classical, pop and jazz music, violin, fiddle, viola, cello, double bass, guitar, piano, clarinet, saxophone, trombone, theory, harmony, history, counterpoint, analysis, conducting and composition. Many of his students have gone on to continue their studies after high school in musical fields such as composition, performance, media/production and music therapy at Acadia University, Berklee College of Music and University of Toronto to name a few. Several of his students also compose, arrange and publish their own works, play in orchestras and teach in a number of different environments. 185119010011 My Scores2476410000000-00-00 00:00:00110[{"on":1,"name":"scoreid"},{"on":0,"name":"sku"},{"on":1,"name":"title"},{"on":1,"name":"instrumentation"},{"on":1,"name":"uploaded"},{"on":1,"name":"price"},{"on":1,"name":"prints"},{"on":1,"name":"views"},{"on":1,"name":"sales"},{"on":0,"name":"price-score-and-parts"},{"on":0,"name":"price-set-of-parts"},{"on":0,"name":"mp3"},{"on":0,"name":"composer"},{"on":0,"name":"subtitle"}]1132.110000-00-00 00:00:000000-00-00 00:00:00010002021-03-12 14:10:20{ "faces" : {} } 02021-03-12 14:10:1900000-00-00 00:00:00400156710.002020-07-29 13:09:1010Account0000-00-00 00:00:002024-04-04 08:06:232020-01-31 13:09:102020-01-31 13:02:571002018-09-29 22:05:50110001$AD365C0E-833C-11EB-A50C-788383FEA0E1000000-00-00 00:00:0000000-00-00 00:00:000000-00-00 00:00:0001000000-00-00 00:00:00o commemorate Independence day. The ceremony is led by the President of Indonesia. Indonesian Youth Congress [edit] Main article: Indonesian Youth Congress In 1928, youths from across Indonesia held the first Indonesian Youth Congress, an official meeting to push for the independence of the nation. Upon hearing about the efforts, young reporter Wage Rudolf Supratman contacted the organizers of Congress with the intention of reporting the story, but they requested that he not publish the story from fear of Dutch colonial authorities. The organizers wanted to avoid suspicion so that the Dutch would not ban the event. Supratman promised them this, and the organizers allowed him free access to the event. Supratman, who was also a musician and also a teacher, was inspired by the meetings and intended to write a song for the conference. After receiving encouragement from the conference leader Sugondo Djojopuspito, Supratman played on the violin the song Indonesia with the hope that it would someday become a national anthem. He kept the script to himself because he felt that it was not the appropriate time to announce it.[4] Supratman first performed Indonesia on the violin on 28 October 1928 during the Second Indonesian Youth Congress.[5] Distribution [edit] Following the Second Youth Congress, the text of Indonesia was distributed by many political and student organizations. The press also played a key role in the publication of the song. On 7 November 1928, the Soeloeh Ra’jat Indonesia daily published the text to the song. This was followed by the Sin Po Chinese weekly on 10 November.[6] In 1929, Wage Rudolf Supratman changed the title of his song to "Indonesia Raya" and appended the phrase National Anthem of Indonesia below it, but the text of the song did not change. Supratman personally printed and distributed copies of the song with its new title through pamphlets. All one thousand copies of the manuscript were sold within a short amount of time to his friends and family.[7] A businessman friend of his, Yo Kim Tjan, also expressed interest in recording "Indonesia Raya". With Supratman’s consent, Yo created a copy of the song on a gramophone record overseas in order to obtain the best sound quality with the intention of bringing the copy back to Indonesia. However, before Yo was able to do so, Dutch colonial authorities had imposed a ban on the song. Yo was unable to bring the original back but was able to bring home a copy. According to Yo, Supratman had also given him the rights to sell record copies of "Indonesia Raya" through his store Toko Populair.[8] Orchestral rendition [edit] The neutrality of this section is disputed. Please do not remove this message until the dispute is resolved. (October 2012) Jozef Cleber a Dutch musician that arrived with a patron of 46 persons of Philharmonic Orchestra under direction of Yvon Baarspul was sent by the Netherlands Government to help the Indonesian Government for music development in Jakarta. "Jos" Cleber (34 years old), in his hometown was an experienced arranger for popular songs, and also successfully for Indonesian pop song arrangements, like Di Bawah Sinar Bulan Purnama and Rangkaian Melati, was asked to make a new arrangement the "Indonesia Raya" anthem by President Soekarno in 1950. Until then, there was no orchestral rendition of the anthem. President Soekarno made an appeal to Cleber to compose a symphonic rendition of "Indonesia Raya". The final rendition is in common use today. The arrangements starts with a Tutti of strings and trumpets (in Verse A) that represents a brave and an elegant sound, and in the middle of the song (in Verse B) is played smoothly by strings, and finally (in Verse C) comes another Tutti of strings and trumpets, together with the timpani and cymbals make it a brave sound for a national anthem that respected by the people. The original recording was recorded by the Cosmopolitan Orchestra under the direction of Jos Cleber, and it was recorded on Phillips tape in 1951 by the Radio of Jakarta. Then it was digital re-recorded in 1997 in Australia based on Jos Cleber partiturs that stored in Jakarta, and it was played again by the Victorian Philharmonic under direction of Addie MS. In 1951, ownership of the copyright to "Indonesia Raya" came into question. President Sukarno ordered a search for the rightful heir to Supratman. By law, Supratman was the copyright holder of "Indonesia Raya" as its composer. After Supratman’s death in 1938, ownership of the rights to his works fell upon the designated heirs, his four surviving sisters. However, because "Indonesia Raya" was officially adopted as the national anthem of Indonesia on 17 August 1945, the work became the property of the state. In addition, the name of "Wage Rudolf Supratman" must be listed as its creator. As a national anthem, copies of "Indonesia Raya" cannot be circulated as merchandise to be sold. Consequently, the government had the obligation to obtain all the rights to distribute the song, including the original recording, from Yo Kim Tjan. In 1958, the government obtained the sole right to "Indonesia Raya" from Supratman’s family. The following year, Yo handed the original record of the song to the Indonesian government. With the recommendation of the Department of Education, the government also rewarded Supratman’s sisters with 250,000 Indonesian rupiah each on 31 May 1960. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 00100.00002016-08-21 14:39:35NIndonesian National Anthem for Brass Quintet MFAO World National Anthem Series0060000-00-00 00:00:0000Indonesian National Anthem for Brass Quintet (MFAO World National Anthem Series) Composed by Wage Rudolf Soepratman (1903-1938) arranged by Keith Terrett Keith Terrett Music for all Occasions An arrangement of the Indonesian national anthem for Brass Quintet. Indonesia Raya" is the national anthem of the Republic of Indonesia. The song was introduced by its composer, Wage Rudolf Supratman, on 28 October 1928 during the Second Indonesian Youth Congress in Batavia. The song marked the birth of the all-archipelago nationalist movement in Indonesia that supported the idea of one single "Indonesia" as successor to the Dutch East Indies, rather than split into several colonies. The first newspaper to openly publish the musical notation and lyric of "Indonesia Raya" — an act of defiance towards the Dutch authorities — was the Chinese Indonesian weekly Sin Po. The first stanza of "Indonesia Raya" was chosen as the national anthem when Indonesia proclaimed its independence at 17 August 1945. Jozef Cleber, a Dutch composer, created Indonesia Raya arrangement for philharmonic orchestra in 1950. This arrangement is widely been used currently for formal and some informal purposes. "Indonesia Raya" is played in flag raising ceremonies in schools usually on mondays. The flag is raised in a solemn and timed motion so that it reaches the top of the flagpole as the anthem ends. The main flag raising ceremony is held annually on 17 August to commemorate Independence day. The ceremony is led by the President of Indonesia. Indonesian Youth Congress [edit] Main article: Indonesian Youth Congress In 1928, youths from across Indonesia held the first Indonesian Youth Congress, an official meeting to push for the independence of the nation. Upon hearing about the efforts, young reporter Wage Rudolf Supratman contacted the organizers of Congress with the intention of reporting the story, but they requested that he not publish the story from fear of Dutch colonial authorities. The organizers wanted to avoid suspicion so that the Dutch would not ban the event. Supratman promised them this, and the organizers allowed him free access to the event. Supratman, who was also a musician and also a teacher, was inspired by the meetings and intended to write a song for the conference. After receiving encouragement from the conference leader Sugondo Djojopuspito, Supratman played on the violin the song Indonesia with the hope that it would someday become a national anthem. He kept the script to himself because he felt that it was not the appropriate time to announce it.[4] Supratman first performed Indonesia on the violin on 28 October 1928 during the Second Indonesian Youth Congress.[5] Distribution [edit] Following the Second Youth Congress, the text of Indonesia was distributed by many political and student organizations. The press also played a key role in the publication of the song. On 7 November 1928, the Soeloeh Ra’jat Indonesia daily published the text to the song. This was followed by the Sin Po Chinese weekly on 10 November.[6] In 1929, Wage Rudolf Supratman changed the title of his song to "Indonesia Raya" and appended the phrase National Anthem of Indonesia below it, but the text of the song did not change. Supratman personally printed and distributed copies of the song with its new title through pamphlets. All one thousand copies of the manuscript were sold within a short amount of time to his friends and family.[7] A businessman friend of his, Yo Kim Tjan, also expressed interest in recording "Indonesia Raya". With Supratman’s consent, Yo created a copy of the song on a gramophone record overseas in order to obtain the best sound quality with the intention of bringing the copy back to Indonesia. However, before Yo was able to do so, Dutch colonial authorities had imposed a ban on the song. Yo was unable to bring the original back but was able to bring home a copy. According to Yo, Supratman had also given him the rights to sell record copies of "Indonesia Raya" through his store Toko Populair.[8] Orchestral rendition [edit] The neutrality of this section is disputed. Please do not remove this message until the dispute is resolved. (October 2012) Jozef Cleber a Dutch musician that arrived with a patron of 46 persons of Philharmonic Orchestra under direction of Yvon Baarspul was sent by the Netherlands Government to help the Indonesian Government for music development in Jakarta. "Jos" Cleber (34 years old), in his hometown was an experienced arranger for popular songs, and also successfully for Indonesian pop song arrangements, like Di Bawah Sinar Bulan Purnama and Rangkaian Melati, was asked to make a new arrangement the "Indonesia Raya" anthem by President Soekarno in 1950. Until then, there was no orchestral rendition of the anthem. President Soekarno made an appeal to Cleber to compose a symphonic rendition of "Indonesia Raya". The final rendition is in common use today. The arrangements starts with a Tutti of strings and trumpets (in Verse A) that represents a brave and an elegant sound, and in the middle of the song (in Verse B) is played smoothly by strings, and finally (in Verse C) comes another Tutti of strings and trumpets, together with the timpani and cymbals make it a brave sound for a national anthem that respected by the people. The original recording was recorded by the Cosmopolitan Orchestra under the direction of Jos Cleber, and it was recorded on Phillips tape in 1951 by the Radio of Jakarta. Then it was digital re-recorded in 1997 in Australia based on Jos Cleber partiturs that stored in Jakarta, and it was played again by the Victorian Philharmonic under direction of Addie MS. In 1951, ownership of the copyright to "Indonesia Raya" came into question. President Sukarno ordered a search for the rightful heir to Supratman. By law, Supratman was the copyright holder of "Indonesia Raya" as its composer. After Supratman’s death in 1938, ownership of the rights to his works fell upon the designated heirs, his four surviving sisters. However, because "Indonesia Raya" was officially adopted as the national anthem of Indonesia on 17 August 1945, the work became the property of the state. In addition, the name of "Wage Rudolf Supratman" must be listed as its creator. As a national anthem, copies of "Indonesia Raya" cannot be circulated as merchandise to be sold. Consequently, the government had the obligation to obtain all the rights to distribute the song, including the original recording, from Yo Kim Tjan. In 1958, the government obtained the sole right to "Indonesia Raya" from Supratman’s family. The following year, Yo handed the original record of the song to the Indonesian government. With the recommendation of the Department of Education, the government also rewarded Supratman’s sisters with 250,000 Indonesian rupiah each on 31 May 1960. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 00002017-03-31 10:56:03*{"width":300,"position-y-pc":"0","faces":{"/usr/local/share/OpenCV/haarcascades/haarcascade_lowerbody.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt2.xml":[],"/usr/local/share/OpenCV/haarcascades/haarcascade_frontalface_alt_tree.xml":[]},"height":197,"position-x-combined":"left","position-x":"left","position-y":"top","position-y-combined":"top","average-center-x":0,"average-center-y":0,"id":"46E9649C-15F8-11E7-B76D-B7F7155F0E47","position-x-pc":"0"}02761822023-05-01 03:48:532017-06-09 18:53:27784882138.005.008.005.0000.00["88308","168223","140556","78183","151528","59699","140617","140520","140618","188994","75247","4062","173346","23092","4413","107764","32625","79766","155425","6032"]2020-09-22 10:08:1712019-09-25 12:38:22FA71AFC2-DF88-11E9-B6D0-78160528822301650x501005.002023-05-01 03:31:012023-05-01 03:31:04141116815954500000-00-00 00:00:000000-00-00 00:00:008U8U8USE::Score2024-04-23 20:39:36.8005862024-04-23 20:49:36.000000291041713901176.800586P8Uȃ8U8U8U8U88U>8UP8USE::Score2024-04-23 20:39:35.9436012024-04-23 20:49:35.000000145261713901175.9436018Uh8U8U8U8U؄8U߄8U8USE::Score2024-04-23 20:39:35.4338792024-04-23 20:49:35.0000003940051713901175.4338798U8U@8UJ8Ue8U8U8U8USE::Score2024-04-23 20:39:35.2206652024-04-23 20:49:35.0000001996011713901175.220665@8U8U8U8U8U8U8U8Up8Uh8U\  @!8U8Uȋ8U؋8U8U8U  ?08UH8U8U 8U8U8U  ?8U8Ux8U8Uh8U`8U`   @!8U8U8UЌ8U8U8U   ?(8U88U8U8U8U8U ? 8U8U`8Up8UP8UH8U ? ȍ8U؍8U8U8U8U8Ul$ ! 8U08U8U8U8U8U  ?x8U8UX8Uh8UH8U@8U ? 8U8U8UЎ8U8U8U ? defMNSScoreExchangestSMDImagesEab)Classdef GuiScoreExchange/lSMDImagesabindeSMDImagesf="/inUpdatedUpdateddefuitaScoreExchangel"SMDImagesGuitarSMDImages)ElSMDImagestar (tFileSizeli>
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    Percussion (pitched)
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Wright" III "Michael Pritchard"8UP=8Utp://schema.org","itemListElement":[{"item":{"name":"Home","@id":"https://www.scoreexchange.com/"},"position":1,"@type":"ListItem"},{"item":{"name":"Search","@id":"https://www.scoreexchange.com"},"position":2 8U :8Up086184D46-01A9-11EF-A39F-911ECFE50ADBE8U`W8U p`W8U !98U8X0!de!WW1WW%58U98U0ahttps://www.scoreexchange.com/score_img/1200x630-pg/20170817130016/123203.jpgaAir on the G string (violin and viola) - Download Sheet Music PDF filep3U`!2017U1713:00:16 338U48U rel=""> an!48UWs="refineField " rel=""> laq@-$8U7UpPss='group'>
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    Score ID

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    The Lord's My Shepherd for three Bb Trumpets & Trombone

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    SCORE-DETAILS-MAIN-INSTRUMENTATION
    page one of The Lord's My Shepherd for three Bb Trumpets & Trombone

    ADDTOBASKETTITLE

    The Lord's My Shepherd for three Bb Trumpets & Trombone

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$8UT#8UD p$8UT#8UD $8UT#8UD $8UT#8UD `$8UT#8UD $8UT#8UD $8UT#8UD P$8UT#8UD $8UpT#8UD $8U`T#8UD @$8UPT#8UD $8U@T#8UD $8U0T#8UD 0$8Utag("con!eXage:"INI!thWION",ana!iWANALYTIC!kWgtag("se!lWessing",!mWgtag("co!nWag("conf1xWipt> Parts rID"prelID" href="/bs/000000000999999998/glyphicons-halflings-regular.woff2" as="font" crossorigin="anonymous"> The Lord's My Shepherd for three Bb Trumpets & Trombone - Sheet Music
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    The Lord's My Shepherd for three Bb Trumpets & Trombone

    By: Jessie Seymour Irvine, 1781
    For: Brass quartet
    page one of The Lord's My Shepherd for three Bb Trumpets & Trombone

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    Air on the G string (violin and viola)

    By: Bach arr. Jordan Grigg
    For: Duet
    page one of Air on the G string (violin and viola)

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    Composer
    Bach arr. Jordan Grigg
    Arranger
    Year of arrangement
    2012
    Difficulty
    Moderate (Grades 4-6)
    Duration
    5 minutes
    Genre
    Other and Classical music
    License details
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    10 Little Duets for Teacher and Student (2 Violins), 10 Little Duets for Teacher and Student (2 Violas), Filmscore No. 2 (War), Rollercoaster (For Strings and Piano), Cailin Mo Ruinsa (String Quartet), Crown Him with Many Crowns (Worship Ensemble), Praise, My Soul, the King of Heaven (Worship Ensemble), All Creatures of Our God and King (String Quartet), March (Grade 1 Band/Grade 6 and 7), Symphony No.13 in A major, Danny Boy (String Trio), The Dream, Violin Sonata No.2 in E major, Viola Concerto, Violin Concerto, Introduction and Allegro for Quintet (Clarinet, 2 Violins, Viola, Cello), 15 canons for Viola and Cello, Ode to Lunenburg, A GRAND FUGUE For Viola and Cello, Sorrows, Six Progressive Duets for Two Violins, Five Short Pieces for Viola and Piano, Music for Solo Viola and Tape, Three Short Pieces for Viola and Piano, Elegy for Viola and Cello, Duets No. 6, 7 & 8 for Two Violas, Viola Duet No. 5, Resurrexi from the Easter Mass arranged for Violin, Viola and Cello, Four Duet Sonatas for Viola and Cello, Romance for Viola and Piano, Two Pieces for Solo Viola, The Joke for Solo Viola, Four Chorales for Viola and Cello, Two part Invention in Ab major for Two Violins, Fugue for Two Violins, Viola Duet No. 4 in F# major, Duet alla Fugue for 2 Violas, 11 Studies for Solo Viola, Fugue for Two Violins and Viola, Two Fugues for Two Violas, Gigue for Two Violas, Allegro for 2 Violas, Viola Sonata No. 3 in D minor, Duet in D major for Two Violins, Duet in G major for Two Violins, Four Dances for Two Violins, Ballet for Two Violins, Prelude for Two Violins, Two Sketches for Two Violins, Viola Duets Nos. 1, 2 and 3, Trio for Clarinet, Viola and Piano, Duet for Violin and Viola, Bagatelle for Two Violins, Caprice for Solo Violin, Fugue in D minor for Two Violins, Duet in A major for Two Violins, Concerto for Two Violins in G minor, Duet for Two Violins 1985, Rondo in G for Solo Violin, Viola Sonata, Concerto No.3 for Two Violins in F major, Prelude for Violin, March for Violin, Sonata for Solo Violin in G minor, Violin Sonata No.1 in G minor, "TWO", Three Rhapsodies for Two Violins, Concerto for Two Violins in A minor 2, Concerto for Two Violins in A minor 1, Scherzo for Violin, Two Duets for 2 Violins, Trio for Three Violins, Two Rhapsodies for Solo Violin, Melody and Variations for Violin and Piano, Duet for Two Violins 1982, Polonaise for Solo Violin and Sonata No. 1 & 2 for Solo Viola

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