Sheet music for Brass Ensemble

REQUIEM: "Tuba Mirum"
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REQUIEM: "Tuba Mirum"

15 parts5 pages01:165 months ago60 views
Percussion(2), Guitar(2), Harp, Voice, Brass Ensemble, Piano(4), Clarinet, Other Woodwinds, Synthesizer(2)
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3 discussions • 3 scores • 50 members


I'm not a brass player, I'm a violinist. I'm just writing for myself with MuseScore, trying to build my composition and orchestration skills. How do you decide which tuba to use in compositions? Wikipedia says that some tubas are more commonly used in UK, the other is more commonly used in US. If I ever have a real player to write for, then I'll write for that persons instrument. Until that happens, can you give me any suggestions, comments etc? (I posted one of my composition exercises , with a tube, to this group, it's the variations on Swanee river) Thanks.
I can live with tuba music, but anyone have any idea how to get music for bass trombone?

Epic Low Brass [Becoming Legendary]

2 parts3 pages01:442 years ago471 views
Trombone, Brass Ensemble
This song is called "Becoming Legendary" by Luke Staten. The song is preformed with a brass ensemble of 3 trumpets, 3 trombones, 1 tuba, and 1 trombone soloist.

Arrival To Earth

5 parts8 pages02:502 years ago532 views
Trumpet(3), Brass Ensemble, Trombone
This is a very known piece from the transformers saga.
the Brass section is suppose to be the Horn and the C Trumpet is the tuba part.

Cold hearted Brass jams

6 parts6 pages01:192 years ago336 views
Trumpet(3), Brass Ensemble, Trombone(2)
I made this brass jams for my high school brass section. I just want to know how you all like it. The brass ensemble is suppose to be the french horn part and the C trumpet part is the tuba part

The Survival Games: The Hunt

18 parts26 pages04:1311 months ago101 views
Keyboard, Piano(2), Percussion(4), Organ(2), Harmonica, Guitar(2), Brass Ensemble, Voice, Strings(2), Bass, Viola
*Select Optimal Audio From Drop-Down Menu Above Score*

An orchestral piece composed by Timothy Schmidt.
This YouTube video has the original version and additional information:

Actual Instrumentation: Flute, Oboe, Clarinet in Bb, Bassoon, Horns in F (2), Trumpet in Bb, Trombone, Tuba, Timpani (3), Drumset, Bass Drum, Piano, String Ensemble

Music performed primarily using Virtual Playing Orchestra:
Samples from the following are also used:
Musyng Kite:
Anthony Percussion:

Cantina Band-Orchestra Version (Force Theme)

46 parts15 pages05:503 years ago9,283 views
Piccolo, Flute(2), Oboe(2), English Horn, Clarinet(3), Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bassoon(3), French Horn(4), Trumpet(4), Trombone(6), Tuba(2), Brass Ensemble, Timpani, Percussion(4), Bass, Harp, Piano, Strings(3), Cello, Contrabass
I orchestrated Cantina Band.
It's finished, but I guess I have to keep updating this......

(actually there are a lots of rests on many instruments, but I think my computer will explode if I fill that

-Change logs-

+added English horn, bass clarinet, and euphonium. And I also added brass section solo before drum solo.

+added piano solo

+removed the arpegio parts in the french horns, (Because it's too fast) and I changed some parts of english horn and clarinet (also because that triplet arpegios are too fast for the english horns.)

+added more instruments at violin solo

+removed piano solo

+added alto trombone and solo double bass

+removed brass section solo and added double bass solo

+added trombone solo

+added more things on all the parts (because there where too much restes....)

+added more information on the cover page

+added more things on the Force Theme

+the Force Theme is now a duet with english horn and french horn, not a violin solo.

+added more things on the trombone section

+added more things on high strings

+added sousaphone

+added instrumentation guide picture

+improved some parts on the euphonium
(because it was too low)

+also some improvements on euphonium parts and tuba parts

+ improvements on double bass parts and solo double bass parts

+chaged the trombone solo part to euphnium solo
(because I think it's too high for the trombone, and I think the timbre of the euphonium is more effective for that melody......)

+added more things at woodwind section and brass section

+improvements for the double basses

+more extended techniques on the solo double bass
(because I think there isn't much differences between the solo double bass and the normal double basses...)

+minor update for all parts

Carolina Crown 2016 "Relentless" - Full Show - Finals Version - Read Description! - Updated 7/10!

34 parts38 pages12:402 years ago24,675 views
Trumpet(4), French Horn(6), Tuba, Trombone, Percussion(13), Other Woodwinds, Timpani, Violin, Contrabass, Guitar, Voice, Brass Ensemble, Sound effects(2)
If anyone can help with transcribing percussion (snare, tenor, bass, or the entire pit), PLEASE, post a comment, or send me an email:

This score has been created almost 100% by ear so far, but I recently recieved the official score of the opener from user ngvc17. Thank you to him! The drumline parts are from the Learn the Music videos, or from SnareScience.

DO NOT use any transcription from my score without giving me credit. If you find anything that needs to be changed, as I'm sure there is, please tell me below. Thanks!

[7/19/16] - Posted full opener
[7/20/16] - Fixed various tempos in opener; EXTREME ROUGH DRAFT of second movement; continued draft of second movement and added the percussion from "LEARN THE MUSIC" on YouTube
[7/21/16] - Finished rough draft of second movement; started third movement; added very beginning of show
[7/22/16] - Finished rough draft of third movement
[7/23/16] - Finished most of the ballad
[7/25/16] - Fixed trombone part; continued ballad
[7/27/16] - Completed ballad; started closer
[7/28/16] - Continued work on closer, fixed various parts of ballad
[7/29/16] - Completed closer
[8/7/16] - Added the original score of the opener, thanks to ngvc17!
[8/8/16] - Started updating the closer to the new ending
[8/16/16] - Updated score to version played at finals (changed ending and third movement slightly)
[9/5/16] - Removed Mello #3, added baritone (from euphonium cam)
[10/10/16] - Cleaned up 2nd Trumpet and 1st Mello using the cams
[12/4/16] - Fixed part of trombone solo
[12/6/16] - Changed intro page, added some percussion in the tango
[12/14/16] - Added more snare to the second movement
[12/31/16] - Made the tuba parts accurate using the tuba cams
[1/28/17] - Added some front ensemble to ballad and closer; added the gunshot
[2/16/17] - Added some battery to tango
[3/31/17] - Added snare part to entire opener and second movement, and beginning of third movement (from SnareScience); fixed end of second movement
[4/1/17] - Added some articulations and front ensemble to opener; made the trombone solo look better
[5/4/17] - Made changes to second movement
[5/29/17] - Increased overall volume of score; adjusted all parts up to the tango
[7/10/17] - Finished drumline in second movement; started adding drumline to tango
Personality Disorder Suite
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Personality Disorder Suite

59 parts12 pages18:232 months ago247 views
Piano, Percussion(10), Flute(2), Oboe(3), Guitar(5), Clarinet(2), Soprano Saxophone(3), Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone(2), Bass(3), Strings(5), Voice(5), Trombone, Brass Ensemble, Tuba(2), Timpani, Synthesizer(4), Bassoon, English Horn, Other Woodwinds(2), French Horn, Violin
Personality Disorder Suite

This Suite is consisted of 7 movements, arranged in the personality disorders respective clusters. For times sake, I didn’t do the following: Histrionic, Borderline, and Dependent, the first to being in Cluster B and dependent being in Cluster C. This piece is supposed to give you a sense of understanding towards these disorders in that it attempts to display what goes on in the mind of someone with the disorder.

The prelude, or introduction sets the key and scale that will be used throughout the piece


This movement is in A Ukrainian Dorian because of its harmonically versatile ability. The accompaniment is consistent throughout the piece, being and A half-diminished arpeggio in the tenor and baritone voices. The bass voices drone either an A or G, acting as the base of the paranoia. The melody is simply the A Ukrainian Dorian scale descending. Each time the melody is repeated, it is added to a voice an octave higher, representing the increasing thoughts running through someone’s mind. Along with that, every time the melody is repeated, a new harmonic line is added. The driving force of this movement is the bass drum. The bass drum plays 2 sixteenth notes on every down beat, acting as a heart beat. The tempo and dynamics are always increasing, to represent the racing thoughts of a paranoid person. The movement ends with a loud and abrupt chord, while the bass voices play a descending line, ending on D# to create dissonance from the base note “A”. This represents the paranoid person’s breaking point from the intrusive thoughts.

This movement starts directly after Paranoid. It keeps the same accompaniment as the movement before, (but now only in the piano), in 3/4 and has a tritone (A and D#) played in the bass as opposed to just an “A”. The melody played by the “Schizoid”, which is represented by the F Tuba, is the same as the melody in Paranoid. What makes this different is what comes after the melody. The piano and choir have a melody in “A Lydian”, which is a much brighter key. This contrast represents the view of the of the schizoid vs. the “normal” world. Every time the tuba plays the melody, it starts on a lower note that before, continuing until it plays a D# as the first note. The “normal world” voicing has a new harmony added to it every time it is repeated, to reaffirm the “normality”. The movement ends with the tuba playing a descending line in half notes, to represent the Schizoid’s slip into their own world, with no concern for the “normal world”.

This movement is the most unique of the bunch. The melody is just the scale, same as the other movements in this cluster, but the rhythm and general feel is totally different. The scale is played by the Bass, Soprano and Piccolo Oboe, who just play the scale up and down, increasing in speed as it goes on. The piece is in 7/4, which is a very uncommon time signature. The harp and celesta play a 16th note flourish in the soprano register, to give an “odd and mystical” feeling. The oboes eventually stop and a new melody is taken over by the strings. The piece changes between 7/4, 5/4, 3/4 and 11/8, to give the same unstable and “odd” feeling. This is to represent the Schizotypal’s seemingly odd nature.The piece ends very abruptly, with the horns holding a chord, leading to the next movement.


This movement is much more simple than the previous melodies. It is the same chord played by the strings (except cello), harp and bassoons (except bassoon 1). The cello and bassoon 1 play a simple melody, which is then echoed by the clarinet. This idea repeats throughout the piece. There are hidden and not so hidden dissonances which are to represent the Sociopath’s attempt at superficial charm. After the first large cycle of the piece, a brass band which is placed off-stage can be heard playing the theme from the next movement “Narcissism”. This represents the lack of care from the sociopath, and their cynical behavior.

This melody is the same as what the brass band plays in “ASPD”, just a descending “A Ukrainian Dorian” scale in 6/4. This movement is written in 6/4, but feels like it should be in 9/4. Most phrases end in 9/4. This hemiola gives the feeling of stubbornness that is eventually dismissed. The melody is only ever played by brass instruments to give the bombastic, cynical feeling that comes from a narcissist.


Obsessive Compulsive
This piece is a simple fugue between the violin, viola and bass. This piece is just made up of 3 sections of 3 sections of 3 (not a typo).
A melody played in 3 measures of 5/4, followed by 3 measures of 3/4 that repeat the same motif 3 times This same idea is repeated 3 times, and makes up the first section.

This whole idea is repeated 3 times, but is disrupted by a wrong note that most people would not notice. When this happens, a loud dissonant chord is played, followed by the “Knock of death” (3 loud repeated notes).

The second section is all in 3/4 following the same format as the first section

The piece ends with a confusion of time, it is written in 3/4 but feels like a mixed meter
This piece has little depth the represent the baselessness of the OCPD’s repetitive actions. I chose to do things in 3’s and 5’s because I have a cousin who does things in this manner.

This movement is the most distinct movement, as it doesn’t really fit the flow of the whole suite. It is a piano solo, playing a simple and empty sounding nocturne. This emptiness is to represent and Avoidant person’s feeling of inadequacy and want for refuge. This movement marks the end of the suite. There is also a version of this where it is played by a flute ensemble.

What’s Missing
Due to technical problems, I could not finish “Borderline”, which was a just a combination of a few of the other movements played by small instrument ensembles, such as saxophones, trumpets, mallets and electronic & strings.This was to represent a borderline person’s lack of identity and self care.

Histrionic was also not finished. This was a combination of a saxophone septet and string septet. I used the saxophones to represent histrionic because saxophones don’t generally belong in the orchestra, and having saxophones against strings was a classic case of what does and doesn’t fit. The soprano saxophone was “attempting” to be the most grandiose, because it needed to be the center of attention, no matter the cost.

Dependent was similar to Avoidant, in that it doesn’t follow the structure of the suite and was a nocturne. Instead of a solo instrument, it starts with specialty instruments attempting to solo, but failing because they needed support. This movement uses a theremin, glass harmonica, 2 musical saws, celesta and harpsichord.

O Come, All Ye Faithful (SATB with orchestra)

9 parts9 pages01:282 years ago1,117 views
Voice(2), Brass Ensemble, French Horn, Tuba, Strings(3), Organ
10/23/2018 - Modified brass and string arpeggios on page 9.
12/16/2017 - Modified measures 41 - 44.
12/26/2016 - Added a tuba for more bass support.
12/19/2016 - This is another attempt at transcribing by ear another selection from an old recording more fully described in my "Joy To The World" score comments. (See It's only the last stanza finale from a very lavish arrangement of the entire carol. I started it last Christmas but gave up. Now it's Christmas again, so I thought I better finish it before another Christmas goes by. Since the original is so lavish I was only able to score really just my impression of what it sounds like.