Julefest Altsaxofon arr Bjørn Morten Kjærnes

Concerto d'AmoreDHP 0950624-030In Concerto dAmore, a maestoso opening is followed by a quick and energetic movement that leads to a magnificent adagio. A motif from this adagio can be heard in a swinging movement, after which the piece comes to a close with the return of the adagio. This arrangement for concert band certainly brings this beautiful music to life.Composer: Jacob de HaanInstrumentation: Brass BandPublisher: De Haske PublicationsSeries: Inspiration SeriesDifficulty: 3Product Type: Set (Score & Parts)Duration: 0:07:19Year of Publication: 1995Size: A4 (297X210)  

SALUTE TO YOUTH (BRASS BAND - SCORE AND PARTS)Publisher: Josef WeinbergerComposer: Vinter, GilbertSeries: Major WorkCode: M0500125801. Resilence2. Romance3. RelaxationSpring Festival May 2017 Senior Trophy. Recorded on Polyphonic QPRL058D SPECTRUM: The Music of Gilbert Vinter Vol.1 and Polyphonic QPRL050D Harry Mortimer - A Tribute in Music

UTOPIADESCRIPTIONUtopia is the name of a book written by the English author Thomas More and was published in 1516. The title is a word thought up by More himself, after the Greek language, meaning "Nowhereland" and leading to the invention of the words utopian scheme and utopian. Utopia pictured an ideal state on an island far from the inhabited world. This idea was the basis of the composition. It makes one think of Oregon in variety of themes and style. Utopia also exists of a combination of styles that breathe the atmosphere of film music. However, Utopia sounds less American. The slow and stirring middle part for example is closer to the European romanticism: the chord signals in the brasssection remind of Wagner's music.SPECIFICATIONSComposer Jacob de HaanInstrumentation Brass BandGrade of Difficulty 4Product Type SetYear of Publication 1994Instrument Group Brass BandGenre Original Light MusicGrade of Difficulty 4Publisher De Haske PublicationsYear of Publication 1994ISMN 9790035008287Series Inspiration SeriesBand Grade of Difficulty Grade 4No. DHP 0940582-030Definitive Duration 00:11:25

Viking AgeItem No. DHP 1175800-030The Viking age lasted from the late eighth, to the middle of the eleventh century. During this period, Scandinavian warriors and merchants explored, plundered and left their mark on numerous territories. This work is based on a series of four notes that appear in different forms, consisting of 4 movements: Northern Men, Explorer, Raids and Heritage. It is an impressive and spectacular piece, with lots of interesting and playful parts for all sections. This is a perfect contest piece or an outstanding work for thematic concerts.Composer: Thierry DeleruyelleInstrumentation: Brass BandPublisher: De Haske PublicationsSeries: Concert and Contest Collection Brass Band en FanfareLanguage: E(UK)DFNDifficulty: 3½Product Type: Set (Score & Parts)Duration: 0:10:40Year of Publication: 2017ISMN: 9790035236055

King Arthur was the first of 28 scores Benjamin Britten (19131976) composed for radio between 1937 and 1947. It was an ambitious dramatisation of King Arthurs life and times part pageant, part play, part cantata written by D.G. Bridson.This colourful suite incorporates the Introduction, a dramatic Wild Dance, some of the music underscoring the scenes for Galahad and The Holy Grail, and two vivid battle scenes, ending with The Final Battle and Apotheosis. King Arthur (scenes from a radio drama) for brass band should not be confused with a much longer orchestral suite which Paul Hindmarsh devised from the same source in 1995.King Arthur (scenes from a radio drama) will be played by the 20 First Section finalists on 16th September 2018 at this years National Brass Band Championships of Great Britain

Gaia Symphony 1. Tsunami2. Window 1(Water-Fire)3. Wildfire4. Window 2 (Fire-Air)5. Aurora6. Window 3 (Air-Earth)7. Men of StoneComposed: 1991 2003Duration: c. 65 minsInstrumentation: Brass BandCommissioned by: the National Youth Band of Wales and the Buy As You View Cory Band (in association with the Arts Council of Wales)1st performance: 10 July 2005, Cheltenham Music FestivalPublished by Kirklees MusicDescriptionThe idea of attempting a large-scale work for brass-band of over an hours duration only emerged gradually in the course of its composition. The first part to be written was Wildfire, the second movement of the present work. This was commissioned in 1991 by the Arts Council of Wales for the National Youth Brass Band of Wales. Four years later, the same organisation commissioned the Symphonic Suite Men of Stone and while working on this I began to perceive thematic connections between the two works that went beyond mere similarities of style and medium.Most importantly, the imagery of Men of Stone encompassed, among other things, all four classical elements: earth for the Avebury movement, air for the blizzard scene of Castlerigg, water for the seascape of Barclodiad y Gawres and fire for the climactic midsummer scene of Stonehenge. Earth, however, was the dominating element behind the whole of Men of Stone and it occurred to me that, with the self-evident fire imagery of Wildfire, the remaining elements, water and air, might be also be included as part of a much bigger scheme that might further develop the existing musical links. Additionally, the four-in-one nature of Men of Stone (the obvious finale to such a grand scheme) might serve as a summary of the entire large-scale structure.Realising this scheme was not straightforward. The very few performances that Men of Stone and Wildfire received in the years immediately after their completion convinced me that there was little point in writing any more music for brass band and the project was placed on indefinite hold.The story now moves to 2001 and a phone-call from Robert Childs. Bob had tutored the NYBBW during some of its performances of the earlier pieces. Now, having taken the BAYV Cory Band to success in both the 2000 National and the Open Championships, Bob explained that he was keen to broaden the bands musical horizons. Both of my earlier works were soon performed, broadcast and recorded by Cory and I was appointed composer-in-residence to the band with a specific view to completing this large-scale project..Bob had also taken over as principal conductor of the NYBBW and it seemed appropriate to involve them too in the creation of the remaining pieces. Tsunami was completed in 2002, with Aurora following a year later. Though both were premiered by the NYBBW (the latter piece conducted by Nicholas Childs), Aurora in particular was composed with the specific qualities of Cory very much in mind.There remained the question of how to connect the four parts. This was a problem, because it was becoming apparent that the whole scheme was not just a collection of four separate pieces, but a single entity comprising four autonomous, but deeply related, elements. I resolved to connect them together. However, this immediately raised musical and practical problems. For a start, the continuous unrelieved sound of the brass band might well become tedious over the course of more than an hour; secondly, no band in the world could possibly have the stamina to sustain a continuous piece of such unparalleled length.The first solution was to provide electro-acoustic interludes, but I abandoned this idea at an early stage. The guiding principle behind all my music is that it originates in my inner ear if I cannot hear it in my head then I cannot write it. Electronic and electro-acoustic music, much as I admire a great deal of it, is something I never hear in my head. To create it would involve experimentation in the studio and this is something I cannot in all conscience do. Instead, I decided to write three short movements for percussion ensemble Windows as I came to call them: openings in the continuous wall of brass sonority which offer a glimpse of another kind of sound world. They also act as transitions between the movements and give the brass players (though not the conductor!) a few minutes of much-needed recuperation.Even before I completed the project, some people were already referring to it as a symphony. Personally, I was extremely wary of the term; I have written three numbered symphonies and have fairly strong views about what a symphony should be. However, I gradually came to feel that symphony was indeed the correct term, because of the thematic and structural links between the movements and also because the whole piece undeniably has the outlines of a traditional four-movement symphony, with a complex opening movement, followed by a scherzo, a slow movement and a more discursive finale. True, the four individual pieces are complete in themselves, but I feel the experience of them is enhanced when they are heard in the wider context.Another way of viewing the whole structure is to compare it with the portmanteau Hammer horror films that were popular in the 60s and 70s. Typically, these featured several short stories, all related by common characters and subjects, and usually linked by a separate connecting narrative between the main stories. In my work, as well as connecting the main movements, the three Windows trace their own separate narrative in that they gradually move from rhythmic regularity in Window 1, via an elaborate counterpoint of different pulse-rates in Window 2, to rhythmic flexibility and no regular pulse at all in Window 3. The main movements themselves also show a progression in mood and metaphor, from catastrophe and destruction in the first two movements to more benign imagery in the last two (the final movement being the only one concerned with the human impact on the world).The Gaia part of the title reflects the symbolic connection of each movement to natural phenomena. Gaia was the Greek goddess of the earth the daughter of Chaos. Gaia is also the name given to the theory pioneered by the distinguished British scientist James Lovelock which proposes the earth itself to be a living, self-regulating organism. The idea has been enthusiastically adopted by various ecological organisations and has often been distorted in the process. If I understand it correctly, Gaia Theory offers something more original and uncomfortable than the customary concerns about saving the planet for future generations. Instead of an essentially anthropocentric view, Gaia takes the much broader view that the earths colonisation by humankind merely marks a certain point in its history and, in global terms, is no more significant than, say, the age of the dinosaurs. Like them, we shall ultimately be wiped out either by our own ingenuity (which will be a unique achievement) or by a catastrophic external intervention, like a comet or an asteroid and the colossal damage we continue to inflict on the earth will eventually be healed (although the human race will presumably not be around to see this). From an artistic point of view, I find the cyclic nature of this idea strongly compelling even if it does imply a limited future for my own and any other artists creations.© John Pickard 200

Real Time Drums 2, Arjen Oosterhout w/CD, English VersionReal Time Drums 2 (ENG)Item No. DHP 1043575-400Edition Number: 1043575 A continuation of the successful method Real Time Drums - Basic Method Level 1 in the same successful and practically orientated style of the first volume. The second book also presents nine complete chapters in which new percussion patterns, rhythms and styles are introduced such as rock and funk, paradiddles and fitness exercises for drummers. Apart from the exercises and explanations the student will also find background information, rehearsal suggestions, guidelines for variations and fills and the encouragement to improvise.

DescriptionBorn in Versailles, Rodolphe Kreutzer initially learned violin from his father, a violinist at the Royal Chapel, and subsequently from Anton Stamitz. In 1795 Kreutzer began a thirty-year career as violin teacher at the Paris Conservatory and, from 1801 was the principal violin at the Paris Opéra. Kreutzer's importance as a pedagogue, the founder of the French School of violin playing, is revealed in his educational materials. This classic Edition Peters volume of Kreutzer's 42 Etudes of Caprices edited by Friedrich Hermann is a cornerstone of any aspiring violinist's library. Designed for the practical musician, it is beautifully bound and printed on cream paper with weight, opacity and grain direction optimal for music publications.Additional InformationSeries: Edition PetersComposed by: Rodolphe KreutzerInstrument: ViolinFormat: BookItem Number: EP284ISBN 10: 0-57-708071-7ISBN 13: 979-0-57-708071-0

THE EXTENDED 120 HYMNS FOR BRASS BAND OR WIND BANDSCORING - INFO:The extended edition of the 120 Hymns for Wind Band/Brass Band har been fresly engraved with a music font specially commissioned by Wright and Round for ease of reading. The publishers have added a frther twenty Christmas Carols making the book unique in that it contains everything needed for worship in one book.As in the previous edition the arrantements are designed to be used by four players upwards. WIND BAND - Apart from the melody and bass, to which the allocation of parts is obvious, the 2nd and 3rd trumpet (+2nd and 3rd Clarinet) parts, 1st and 2nd horn adhere strictly to the alto part, etc.It will be seen that the correct choice of instruments, e.g. flute, 1st and 2nd horn, E-flat bass will provide a four-part balance. BRASS BAND - Apart from the melody and bass, to which the allocation of parts is obvious, the 2nd and 3rd cornet, solo and 1st horn adhere to the alto part - similary the 2nd horn and 1st paritone to the tenor part. (Lest this should appear to leave the tenor line weak, it should be hoted that in the main this is strenghened by 2nd baritone and tenor trombone in such a way to ensure the balance of alto and tenor lines with a normal complement). The Euphonium is independen t but usually doubles either the melody or the bass.It will be seen that the correct choise of instruments, e.g. solo cornet, 1st and 2ndt horn, E-flat bass wil provide a four-part balance. Apart from plain utility, imaginative conductors will realise the potentiality of contrasted groups which will rest sections of the band in long hymns and also provide changes of tone colour comparable with the organist's registration. CONTENT1. Aberystwyth   2. Abridge     3. Angelus     4. Aurelia     5. Austrian Hymn       6. Belmont     7. Blaenwern   8. Carlisle    9. Christ the King       10. Colne      11. Cor Jesu    12. Corpus Christi       13. Crimond    14. Cross of JeSus        15. Darwalls 148th       16. Day of Rest   17. Dennis     18. Diadem     19. Diademata   20. Divine Mysteries      21. Dix       22. Dominus Regit Me     23. Duke Street   24. Dundee (French)      25. Easter Hymn        26. Ein Feste Burg       27. Ellacombe   28. Ellers       29. Eventide     30. Franconia     31. Geibel      32. Gerontius     33. Gopsal      34. Hanover     35. Hollingside   36. Horsley     37. Hursley     38. Hyfrydol     39. Innocents     40. Kocher      41. Laudate Dominum     42. Laudes Domini       43. Lloyd       44. Lobe den Herren       45. Love Divine   46. Lux Benigna   47. Maidstone    48. Mannheim    49. Martyrdom   50. Maryton     51. Melcombe    52. Melita      53. Miles Lane     54. Misericordia   55. Missionary    56. Monkland,    57. Monks Gate   58. Morning Hymn       59. Morning Light        60. Moscow     61. National Anthem       62. Nearer, My God, To Thee  63. Nicæa,      64. Nottingham (Mozart)    65. Nun Danket   66. Old Hundredth       67. Passion Chorale       68. Penlan      69. Pentecost      70. Pilgrims      71. Praise my Soul         72. Redhead      73. Regent Square         74. Richmond     75. Rimmington    76. Rockingham    77. St. Agnes      78. St. Albinus     79. St. Ann      80. St. Bees      81. St. Cecilia     82. St. Clement    83. St. Columba    84. St. Cuthbert    85. St. Denio     86. St. Ethelwald         87. St. Francis    88. St. George    89. St. Gertrude    90. St. Magnus    91. St. Michael    92. St. Oswald    93. St. Peter      94. St. Theodulph        95. St. Theresa    96. Samuel      97. Sandon      98. Sawston      99. Sine Nomine         100. Stella       101. Stracathro     102. Stuttgart      103. Tallis Canon         104. Turris Davidica        105. Victory      106. Vox Dilecti    107. Wareham     108. Warrington    109. Westminster    110. When He Cometh      111. Whitburn     112. Wiltshire     113. Wir pflügen (Dresden)    114. O Come All Ye Faithful    115. Away in a Manger      116. Hark! The Herald Angels Sing         117. Once in Royal Davids City  118. Nowell      119. Silent Night    120. While Shepherds Watched    121. Angels from the Realms of Glory,    122. As with Gladness       123. Christians Awake       124. The Coventry Carol      125. Ding Dong Merrily on High      126. Deck the Halls        127. God Rest ye Merry Gentlemen         128. Good King Wenceslas    129. Good Christian Men Rejoice     130. The Holly and The Ivy    131. I Saw Three Ships       132. It Came upon the Midnight Clear      133. Jingle Bells,    134. O Little Town of Bethlehem         135. The Rocking Carol      136. See Amid the Winter Snow      137. Unto us a Child is Born    138. Wassail      139. We Three Kings        140. We Wish you a Merry Christmas    Index of Hymns  Index of Carols  Index of first lines of hymns listed with commonly used tunes  AVAILABLE PARTS:W6277 120 hymns for Brass band Full page score A4W6278A 120 hymns for Brass band Soprano Cornet Eb A4W6278B 120 hymns for Brass band Solo Cornet Bb A4W6278C 120 hymns for Brass band Repiano & Flugel Bb A4W6278D 120 hymns for Brass band 2nd & 3rd Cornet Bb A4W6278E 120 hymns for Brass band Solo Horn Eb A4W6278F 120 hymns for Brass band 1st Horn Eb A4W6278G 120 hymns for Brass band 2nd Horn Eb A4W6278H 120 hymns for Brass band 1st Baritone A4W6278I 120 hymns for Brass band 2nd Baritone A4W6278J 120 hymns for Brass band 1st Trombone A4W6278K 120 hymns for Brass band 2nd Trombone A4W6278L 120 hymns for Brass band Bass Trombone A4W6278M 120 hymns for Brass band Euphonium A4W6278N 120 hymns for Brass band Bass Eb A4W6278O 120 hymns for Brass band Bass Bb A4W6278P 120 hymns for Brass band Drums A4W6278Q 120 hymns for Brass band Timpani A4W6278R 120 hymns for Brass band Concert Pitch A4W6307 120 hymns for Brass & Wind Band Short Score A4W6360A 120 hymns for Wind band 1st & 2nd Flute/Piccolo A4W6360B 120 hymns for Wind band Oboe A4W6360C 120 hymns for Wind band Bassoon A4W6360D 120 hymns for Wind band Clarinet Eb A4W6360E 120 hymns for Wind band 1st Clarinet A4W6360F 120 hymns for Wind band 2nd & 3rd Clarinet A4W6360G 120 hymns for Wind band Bass Clarinet A4W6360H 120 hymns for Wind band Alto Saxophone A4W6360I 120 hymns for Wind band Tenor Saxophone A4W6360J 120 hymns for Wind band Baritone Saxophone A4W6360K 120 hymns for Wind band 1st Trumpet A4W6360L 120 hymns for Wind band 2nd & 3rd Trumpet A4W6360M 120 hymns for Wind band 1st Horn F A4W6360N 120 hymns for Wind band 2nd Horn F A4W6360O 120 hymns for Wind band 1st Trombone C A4W6360P 120 hymns for Wind band 2nd Trombone C A4W6360Q 120 hymns for Wind band 3rd Trombone C A4W6360R 120 hymns for Wind band Euphonium/Tenortuba C A4W6360S 120 hymns for Wind band Basses C A4W6360T 120 hymns for Wind band Drums A4W6360U 120 hymns for Wind band Timpani A4W6360V 120 hymns for Wind band Concert Pitch A4W7013A 120 hymns for Brass band Soprano Cornet Eb A5 StandardformatW7013B 120 hymns for Brass band Solo Cornet Bb A5 StandardformatW7013C 120 hymns for Brass band Repiano & Flugel Bb A5 StandardformatW7013D 120 hymns for Brass band 2nd & 3rd Cornet Bb A5 StandardformatW7013E 120 hymns for Brass band Solo Horn Eb A5 StandardformatW7013F 120 hymns for Brass band 1st Horn Eb A5 StandardformatW7013G 120 hymns for Brass band 2nd Horn Eb A5 StandardformatW7013H 120 hymns for Brass band 1st Baritone A5 StandardformatW7013I 120 hymns for Brass band 2nd Baritone Bb A5 StandardformatW7013J 120 hymns for Brass band 1st Trombone Bb A5 StandardformatW7013K 120 hymns for Brass band 2nd Trombone Bb A5 StandardformatW7013L 120 hymns for Brass band Bass Trombone BC A5 StandardformatW7013M 120 hymns for Brass band Euphonium Bb TC A5 StandardformatW7013N 120 hymns for Brass band Bass Eb TC A5 StandardformatW7013O 120 hymns for Brass band Bass Bb TC A5 StandardformatW7013P 120 hymns for Brass band Drums A5 StandardformatW7013Q 120 hymns for Brass band Timpani A5 StandardformatW7013R 120 hymns for Brass band Concert Pitch A5 StandardformatW7014A 120 hymns for Wind band 1st & 2nd Flute/Piccolo A5 StandardformatW7014B 120 hymns for Wind band Oboe A5 StandardformatW7014C 120 hymns for Wind band Bassoon A5 StandardformatW7014D 120 hymns for Wind band Clarinet Eb A5 StandardformatW7014E 120 hymns for Wind band 1st Clarinet A5 StandardformatW7014F 120 hymns for Wind band 2nd & 3rd Clarinet A5 StandardformatW7014G 120 hymns for Wind band Bass Clarinet A5 StandardformatW7014H 120 hymns for Wind band Alto Saxophone A5 StandardformatW7014I 120 hymns for Wind band Tenor Saxophone A5 StandardformatW7014J 120 hymns for Wind band Baritone Saxophone A5 StandardformatW7014K 120 hymns for Wind band 1st Trompet A5 StandardformatW7014L 120 hymns for Wind band 2nd & 3rd Trumpet A5 StandardformatW7014M 120 hymns for Wind band 1st Horn F A5 StandardformatW7014N 120 hymns for Wind band 2nd Horn F A5 StandardformatW7014O 120 hymns for Wind band Euphonium/Tenor Tuba BC A5 StandardformatW7014P 120 hymns for Wind band 1st Trombone C A5 StandardformatW7014Q 120 hymns for Wind band 2nd Trombone C A5 StandardformatW7014R 120 hymns for Wind band 3rd Trombone C A5 StandardformatW7014S 120 hymns for Wind band Bass BC A5 StandardformatW7014T 120 hymns for Wind band Drums A5 StandardformatW7014U 120 hymns for Wind band Timpani A5 StandardformatW7014V 120 hymns for Wind band Concert Pitch A5 Standardformat 

Notetegneboka - A4Notetegnebok / noteskrivebok 10 linjer og 16 sider. God plass til å skrive notater på annenhver side.

 DESCRIPTIONThe Latin text from the Ordinary of the Mass for mixed voices, brass (4 trumpets, 2 tenor trombones, bass trombone, tuba), percussion, and organ An accompaniment for orchestra without organ is also available. Full scores, vocal scores, and instrumental parts are available on hire. The first movement of Gloria is available separately under the title Gloria 1.SPECIFICATIONSComposer John RutterMR-Product Format Vocal ScoreInstrument Group Mixed ChoirInstrumentation Mixed Choir and EnsembleProduct Type Vocal ScorePublisher Oxford University PressPaperbackPublished: 13 May 1976Duration: 18 minutesDifficulty: Moderately Difficult48 Pages | 297x210mmISBN: 9780193380622

Spill Kornett &Trompet 2 - Elisabeth VanneboTil læreren Spill trompet & kornett 2 bygger på "Spill trompet & kornett 1". Melodivalget er fortsatt sentralt og målet er at boka skal inspirere til å øve hjemme.Samspill mellom bøkene er ikke prioritert siden målet med denne boka er å øve hjemme og tilrettelegge best mulig for hvert enkelt instrument. Samspill: De fleste melodiene i denne boka har besifring (transponert). Bak i boka er det tre sider med samspill som kan spilles på tvers av bøkene.MetodikkJeg har tatt med flere tips til metodikk både i starten og underveis og luftbruk står sentralt.Konsertvirksomhet og musikalsk uttrykk Følger opp fra bok 1 med blå tekst for forslag til musikalske uttrykk og lilla for konsertvirksomhet. Har tatt med litt informasjon om enkelte komponister. Jeg håper elevene selv vil søke informasjon på nettet.Arrangering: Her går boka et skritt videre med arrangering ved bruk av terser og sekster. Målet er at elevene skal inspireres til å lage egne arrangement. Det ligger også teori og bevisstgjøring av notelesing her.Samspill på tversBak i boka er det tre duetter som kan spilles på tvers av bøkene.Fargekoder:Blå: Musikalske uttrykkLilla: KonsertvirksomhetGrønn: messingmetodikk_______________________________________________________________________Lyd Innhold1-2 Gjetervise3-4 Bånsull5-6 Its a small world7-8 Kom skal vi klippe sauen9-10 Den fyrste song11-12 I en sal på hospitalet13-14 Easy Winners15-16 Ormen Lange17-18 Spill19-20 Pelle Parafins Bøljeband21-22 Dyrene I Afrika23-24 Haust25-26 The Addams Family27-28 En liten koselig en29-30 Frankie and Johnny31-32 Voggetone33-34 Olsenbanden35-36 Liten fuggel37-38 Rondo for en ung virtuos39-40 Tin Roof Blues41-42 When the Saints43-44 Sonjas sang45-46 Tre nøtter til AskepottLydeksempler ligger tilgjengelig for streaming via Wimp og Spotify, og nedlast fra iTunes.comTeoriSpilleteknikk Dur og moll, parallelltonearter De nordiske landD-durAlla breve6/8B -dur Wienerklassisismen 1750-1815 Synkope Åttendedelspause i starten Skiftende taktarter sekstendelsnoter e -dur Romantikken ca. 1820- 1900Enharmoniske toner Punkterte sekstendelsnoter Åttendedels triol A-dur staccato Intervaller Kromatikk Improvisasjon Blues og jazz akkorder Julekveldsviser Daglige sprell Arrangering, terser og sekster Terser, sekster og akkordtoner Samspill på tvers Greptabell ________________________________________________________________Sanger og noterA-durskala Alle fugler Amazing Grace bånsull Bjørnejegeren Blaydon Race bluesskala BourlesqBrudemarsj fra Lohengrin Byttelek D-dur DAMBUSTERS MARCH DAMBUSTERS MARCH Den blå planet Den første løvetann Den fyrste song Den fyrste song Den underjordiske hallingen Din drøm gir deg altDybdeøvelse Dyrene i Afrika Easy Winners E -durskalaEllesprelleviseåttendelsnoter / sekstendelsnoterEngelsk folkemelodiEn liten koselig en Etyde med trioler Flintstones ThemeFrankie and Johnny Give us Peace Gjetervise Gummifinger Ragtime Habanera Haida Haida Har du sett Herr KantarellHÄR KOMMER PIPPI LÅNGSTRUMPHaustHe du sett nogon gomol kjerringHedwigs Theme Holmenkoll-marsj Høydeøvelse Humoresque I en sal på hospitalet Im Popeye the sailor man Intervalløvelser Its a small world Ja vi elsker Jig Jubilate Kjettå satt i veven |Klatremus Voggevise Kom, mai! Kom skal vi klippe sauen Kongesangen Kromatika Kromatiske skalaer Land of Hope and Glory Largo fra Symfoni nr. 9 Liberty BellLille KatLille Postbud min due liten fuggel Liten sky Little Bo-Peep Lykkehjulets sang Mackie MesseMaxwells Silver HammerMilord Mitt hjerte alltid vanker Morgenstemning Munnstykkeduet Munnstykkeduetter Musevisa No milk today Norge i rødt, hvitt og blått OktaverOlsenbanden Ompa kvarikvarOrdner seg Ormen LangePachelbels CanonPelle Parafins bøljebandPromenade Raske fingre Regnværsvise RidumRippel RappelRondo for en ung virtuosRytmeduellrytmeøvelseSåg du noko te kjerringa mi Scotland the Brave sekstendels Etyde Skalaer og treklanger Smile Snømannen Kalle Sola og englene Sonjas sang Sparegris-visa Speed 1, 2 og 3 Speed 4 Spill Star WarsStep in time Svantes lykkelige dag Teddy Bears Picnic Te Deum Te Deum The Addams Family The Clock Canon The Medallion calls Thulana Tin Roof Blues trappen opp til f2 Tre nøtter til Askepott Trumpet Air from Indian Queen Voggetone When the saints William TellØvelse Øvelse med c#1Elisabeth VanneboElisabeth Vannebo bor i Bergen og jobber som frilans musiker med tuba som hovedinstrument.Hun har turnert bl.a. for Rikskonsertene, Norsk Musikantbruk, Bæremeisen og Skolesekken. Hun har også jobbet som teatermusiker og studiomusiker og spiller fast i Duonova, Trekkspill tuba og TippeThue, Messingkvintetten Bris, Tupper med tuba og Teatertruppen. Elisabeth jobber mye med musikkformidling for barn, både som utøver og komponist. Hun arrangerer og komponerer musikk, og har bl.a. skrevet musikalen Fyrtøyet for korps. Hun var med å lage lærebokserien Midt i blinken, Slåttespill for blåsere og Primera. Hun er deltidsansatt i Bergen Kulturskole og har engasjement ved Ole Bull Akademiet og Griegakademiet.