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Rosary Sonatas: The Resurrection
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1081705 Composed by Heinrich Ig…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081705 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 151 pages. JMJ Arrangements #685830. Published by JMJ Arrangements (A0.1081705). [W]hen the sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, bought spices, so that they might go and anoint him. And very early on the first day of the week they went to the tomb when the sun had risen. And they were saying to one another, 'Who will roll away the stone for us from the door of the tomb?' And looking up, they saw that the stone was rolled back; for it was very large. And entering the tomb, they saw a young man sitting on the right side, dressed in a white robe; and they were amazed. And he said to them, 'Do not be amazed; you seek Jesus of Nazareth, who was crucified. He has risen, he is not here; see the place where they laid him. But go, tell his disciples and Peter that he is going before you to Galilee; there you will see him, as he told you.' And they went out and fled from the tomb; for trembling and astonishment had come upon them; and they said nothing to any one, for they were afraid. Now when [Christ] rose early on the first day of the week, he appeared first to Mary Magdalene, from whom he had cast out seven demons. She went out and told those who had been with him, as they mourned and wept. But when they heard that he was alive and had been seen by her, they would not believe it. --Mark 16:1-11 (RSV-CE).
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Orchestre
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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for it was very large
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Rosary Sonatas: The Resurrection
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JMJ Arrangements
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SheetMusicPlus
Beyond The Sea
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
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Chorale SATB
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Charles Tenet
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Tobi Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
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Ensemble Jazz
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Charles Tenet
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Tobi Crawford
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Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Tobi Crawford
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SheetMusicPlus
Beyond The Sea
Piano seul
Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry,…
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Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Contemporary,Jazz. Score (Chords/Lyrics). 7 pages. Tobi Crawford #981711. Published by Tobi Crawford (A0.1398436). This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson and Sara Gazarek improvise on ballads for inspiration.
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Piano seul
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Bobby Darin
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Tobi A Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
The Weeknd - Blinding Lights for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Advanced Intermediate - Digital Download By The Weeknd. Arranged by …
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Brass Quintet - Advanced Intermediate - Digital Download By The Weeknd. Arranged by Seb Skelly. Score, Set of Parts. 20 pages. Published by Seb Skelly
An arrangement like no other with an atmospheric opening and plenty of fresh and interesting developments throughout.
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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The Weeknd
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Seb Skelly
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The Weeknd - Blinding Lights for Brass Quintet
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Seb Skelly
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SheetMusicPlus
Weekend Sonatina
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.941029 Composed by Joshua Allen. Co…
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Piano Solo - Level 4 - Digital Download SKU: A0.941029 Composed by Joshua Allen. Contemporary. Score. 5 pages. Joshua Allen Music #3491375. Published by Joshua Allen Music (A0.941029). Weekend Sonatina for solo piano features two movements: I. Saturday and II. Sunday.I. Saturday is light and frolicking, the beginning of the weekend where exciting possibilities await. Contrasts in staccato and legato contrast the two primary themes of this small sonata form movement. A brief Beethoven-esque development leads to a recapitulation and a light-hearted conclusion.II. Sunday features a leisurely descending chromatic theme in the left hand against a simple, pensive melody in the right. After an accompanimental variation of the theme and a brief inversion of the chromatic line against a secondary theme, the piece draws to a close and the listener can hear the sun setting as the weekend slowly ends.From start to finish, Weekend Sonatina is close to 4 minutes in length. Each movement can stand alone or be performed together. The chromaticism in the left hand, stylistic variations, and ranges covered in each hand make this piece suitable for the advancing intermediate to advanced student.
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Piano seul
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Joshua Allen
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Weekend Sonatina
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Joshua Allen Music
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SheetMusicPlus
Blinding Lights (The Weeknd) - String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Advanced Intermediate - Digital Download By The Weeknd. Arranged by …
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String Quartet - Advanced Intermediate - Digital Download By The Weeknd. Arranged by Aaron Bennett. Score, Set of Parts. 22 pages. Published by Aaron Bennett
"Blinding Lights" from The Weeknd's popular 2020 album After Hours, arranged for String Quartet by Aaron Bennett.<br> <br> <br> Watch sheet music: https://youtu.be/4u54F7pSqEw
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Quatuor à cordes: 2 violons, alto, violoncelle
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The Weeknd
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Aaron Bennett
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Blinding Lights
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Aaron Bennett
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SheetMusicPlus
Six Anthems for Lent and Holy Week (SATB divisi)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.719561 Composed by Multipl…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.719561 Composed by Multiple composers. Arranged by Curtis Hanson. Christian,Sacred. Octavo. 20 pages. Curtis Hanson #2036367. Published by Curtis Hanson (A0.719561). The pieces which comprise the Six Lenten Anthems are scored for SATB divisi chorus and organ and are both original and arrangements. They were conceived as a unit, i.e. some material is thematically related. The cycle is in arch form - pieces one (Out of the Depths) and six (Be Near Me, Precious Savior) are edited versions of German chorales, both of which have ties to Hassler and Protestant Germany and which have similar cadences. Pieces two (Lamb of God) and five (When Jesus Wept) are arrangements of works utilizing modal dissonance in juxtaposition, number two being another traditional German chorale, number five a familiar melody by Billings. Pieces three (Hosanna! and four (Jerusalem) are original works which require multiple divisi and also employ significant dissonance. Each of the pieces are available and may be performed separately.
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Chorale SATB
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Multiple composers
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Curtis Hanson
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Six Anthems for Lent and Holy Week
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Curtis Hanson
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SheetMusicPlus
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
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Orchestre
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobscot River
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Thomas Oboe Lee
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SheetMusicPlus
The Betrayal
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1012606 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1012606 Composed by Michelle Kraak. Easter,Praise & Worship,Sacred. 16 pages. Michelle Kraak #6102931. Published by Michelle Kraak (A0.1012606). The Betrayal is written for choir (soprano, alto, tenor, bass). It is a religious piece based on the passion of Christ. It has aspects of imitation, with a lot of independence in the parts. The vocal parts represent the voice of Jesus, the voices of those who crucified him, a narrator, and also briefly the voice of Peter, Jesus' disciple. The bass primarily sings the role of the people who called for his death, but as the piece continues others join in this role. I wrote some of the lyrics and also pulled some verses in from the Bible. I think this would be a great piece for Holy Week, perhaps on Good Friday or Maundy Thursday. the piece captures some of the intense emotions involved in the crucifixion and would make a great addition to Lenten music in the church. Lyrics:Why did you leave me?Why did you run?I absolved you of your sin. Jesus Christ must die for what he's done. I absolved you of your sin,I saved you from yourselves,I just wanted to lead you,Closer to God. Death! I wanted to give you new life. Three times you will deny me, Woman I do not know him! Jesus Christ must die for what he's done. Why did you leave me? Why did you run?I absolved you of your sin.I saved you from yourselves,I just wanted to lead you, Closer to God. Jesus I didn't know him.I don't know the man! Jesus Christ must die for what he's done. Peter struck him!Cut off his ear,Jesus touched him and healed him,Though the man had come for him. Jesus Christ must die for what he's done. Why should Jesus die for what he's done?Why did I forsake the Son of God?I'd have called for him to be crucified. We are no better,Then the past. Why did you forsake me,Why did you forsake me? Forgive them,For they do not know what they're doing. Forgive them,For they do not know what they're doing. Betrayed with a kiss. Surely he was the son of God.Surely he was the son of God.Surely he was the son of God.4 minutes 29 seconds6 minutes 29 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/
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Chorale SATB
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Michelle Kraak
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The Betrayal
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Michelle Kraak
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
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Trompette
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP Press
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Trompette
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
Dashing away with the smoothing iron for violin and guitar
Violon, Guitare (duo)
Instrumental Duet Guitar,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.…
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Instrumental Duet Guitar,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.577470 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,Romantic Period,World. Score and parts. 10 pages. David Warin Solomons #1921289. Published by David Warin Solomons (A0.577470). This arrangement of an English folk song follows the words only in that there are seven verses (one for each day of the week as in the song) and the music slows to a respectfully slow pace on wearing of her linen oh as the lady gets ready for church on the final day, Sunday, followed by a jolly ending. Each verse provides variations on the tune and gives the other instrument a chance to play the melody in turn. The piece modulates to various related major and minor keys finally ending on the original D major. The sound sample is an electronic preview.
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Violon, Guitare (duo)
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Traditional
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David Warin Solomons
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Dashing away with the smoothing iron for violin and guitar
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David Warin Solomons
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SheetMusicPlus
The Rugged Cross, the Empty Tomb
Piano seul
Piano Solos of Sacrifice and Triumph. Arranged by Victor C Johnson. Sacred, Easter, …
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Piano Solos of Sacrifice and Triumph. Arranged by Victor C Johnson. Sacred, Easter, General, Good Friday, Holy Week, Lent. Church Piano. 36 pages. Lorenz Publishing - Digital Sheet Music #e70/2389L. Published by Lorenz Publishing - Digital Sheet Music
The Lorenz Corporation is thrilled to present Victor Johnson's debut book of piano arrangements! The keyboard music of this much loved composer has appeared in various compilations in the past, but this volume, from start to finish, is 100% Victor! These arrangements will take the pianist and listener through the crucifixion and resurrection of Christ, and Victor's abundant creativity makes these time-honored tunes sound new again. Pianists will treasure this collection during Holy Week, Easter, and the remainder of the church year.
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Piano seul
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Victor C Johnson
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The Rugged Cross, the Empty Tomb
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
The Butterfly
Flute,Vibraphone,Voice - Level 4 - Digital Download SKU: A0.1089176 Composed by Dan…
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Flute,Vibraphone,Voice - Level 4 - Digital Download SKU: A0.1089176 Composed by Daniel Burwasser. Contemporary. 8 pages. Head and Stem #693387. Published by Head and Stem (A0.1089176). Pavel Friedmann wrote the poem “The Butterfly†in 1942 in the Terezin Ghetto when he was 21. He was murdered in the Auschwitz extermination camp in 1944. Pavel was born in 1921 in Prague, Czechoslovakia (now the Czech Republic) to a Jewish father and a Christian mother. The Butterfly is a living symbol of the beauty of freedom. Such a free spirit could never have survived the confines of the Warsaw ghetto. But while the butterfly did fly away, the spirit and love of freedom it represented never left the souls of the Jews of the ghetto. They always prayed that one day the barbed wire would come down and the butterfly would reappear. The butterfly flutters there today, but many of the Jews who prayed for its return did not live to welcome it back. The first performance of The Butterfly was given on May 8, 1988 at JASA in New York City. The performers were: Andrew Bolotowsky, flute Glenn Rhian, vibraphone Mimi Stern-Wolfe, reciter There are at least two versions of the poem The Butterfly due to different translations.This work uses VERSION 2 as translated here: The last, the very last, So richly, brightly, dazzlingly yellow. Perhaps if the sun's tears would sing against a white stone... Such, such a yellow carried lightly way up high. It went away I'm sure because it wished to kiss the world goodbye. For seven weeks I've lived in here, penned up inside this ghetto, but I have found my people here. The dandelions call to me and the white chestnut candles in the court. Only I never saw another butterfly. That butterfly was the last one. Butterflies don't live in here, In the ghetto.For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
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Daniel Burwasser
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The Butterfly
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Head and Stem
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SheetMusicPlus
Grandfathers Clock
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A…
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1403965 Composed by Danny Marsden S. Widdicombe. Arranged by Geo. Doughty (arranger) & Peet du Toit (orchestrator). Folk,Pop. 73 pages. Peet du Toit #987145. Published by Peet du Toit (A0.1403965). Grandfather's Clock (popularly known as My Grandfather's Clock) is a song written in 1876 by Henry Clay Work, the author of Marching Through Georgia. It is a standard of British brass bands and colliery bands, and is also popular in bluegrass music. The Oxford English Dictionary says the song was the origin of the term grandfather clock for a longcase clock. In 1905, the earliest known recording of this song was performed by Harry Macdonough and the Haydn Quartet (known then as the Edison Quartet).The song, told from a grandchild's point of view, is about his grandfather's clock.The clock is purchased on the morning of the grandfather's birth and works perfectly for 90 years, requiring only that it be wound at the end of each week.The clock seems to know the good and bad events in the grandfather's life; it rings 24 chimes when the grandfather brings his new wife into his home, and near his death it rings an alarm, which the family recognizes to mean that the elderly gentleman is near death and gathers by his bed. After the grandpa dies, the clock suddenly stops, and never works again.This famous Euphonium solo, with brass quintet, but also with Sam Harrill's percussive magic. Enjoy!
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Danny Marsden S
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Geo
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Grandfathers Clock
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Peet du Toit
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SheetMusicPlus
Dashing away with the smoothing iron for clarinet and guitar
Clarinette, Guitare (duo)
Instrumental Duet Clarinet,Guitar,Instrumental Duet - Level 4 - Digital Download SKU: A…
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Instrumental Duet Clarinet,Guitar,Instrumental Duet - Level 4 - Digital Download SKU: A0.577597 Composed by Traditional. Arranged by David Warin Solomons. 20th Century,Contemporary,Folk,World. Score and parts. 10 pages. David Warin Solomons #2331401. Published by David Warin Solomons (A0.577597). This arrangement of an English folk song follows the words only in that there are seven verses (one for each day of the week as in the song) and the music slows to a respectfully slow pace on wearing of her linen oh as the lady gets ready for church on the final day, Sunday, followed by a jolly ending.
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Clarinette, Guitare (duo)
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Traditional
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David Warin Solomons
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Dashing away with the smoothing iron for clarinet and guitar
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David Warin Solomons
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SheetMusicPlus
Saturday Night (is The Loneliest Night In The Week
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.750544 By Frank Si…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.750544 By Frank Sinatra. By Jule Styne. Arranged by Matt Amy. Jazz. Score and parts. 41 pages. Matt Amy Music #5024099. Published by Matt Amy Music (A0.750544). Key: C majorBPM: 160Style: SwingDuration: 1'48Instrumentation: Big Band (5 saxophones, 4 trumpets, 4 trombones, guitar, piano, bass, drums)Notes: Vocal part is not included with this arrangement, however, the arrangement follows the same form as the studio recording (Sinatra)More arrangements from Matt Amy here: https://www.sheetmusicplus.com/publishers/matt-amy-music-sheet-music/3005565?ac=1 Contact (and more info) Matt here: http://www.mattamymusic.com/contact
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Ensemble Jazz
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Frank Sinatra
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Matt Amy
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Saturday Night
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Matt Amy Music
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SheetMusicPlus
Working For The Weekend - Score Only
Ensemble de Percussions
Percussion Ensemble - Level 4 - Digital Download SKU: A0.1305901 By Loverboy. By Ma…
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Percussion Ensemble - Level 4 - Digital Download SKU: A0.1305901 By Loverboy. By Matthew Frenette, Michael Reno, and Paul Dean. Arranged by Josh Ball. 20th Century,Rock. 1 pages. The BeatCave #895308. Published by The BeatCave (A0.1305901). Color-coded Top 40 chart for use with Boomwhackers, Xylophones, Keyboards, and all pitched percussion instruments.
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Ensemble de Percussions
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Loverboy
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Josh Ball
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Working For The Weekend - Score Only
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The BeatCave
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SheetMusicPlus
I Write The Songs
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1043121 By Barry Manilow. By Br…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1043121 By Barry Manilow. By Bruce Johnston. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 57 pages. Kevin Riley #647831. Published by Kevin Riley (A0.1043121). I Write the Songs is a popular song written by Bruce Johnston in 1975 and released on his album Going Public in 1977. Barry Manilow's version reached number one on the Billboard Hot 100 chart in January 1976 after spending two weeks atop the Billboard adult contemporary chart in December 1975. It won a Grammy Award for Song of the Year and was nominated for Record of the Year in 1977. Billboard ranked it as the No. 13 song of 1976. The original version was recorded by Captain & Tennille, who worked with Johnston in the early 1970s with the Beach Boys. It appears on their 1975 album Love Will Keep Us Together. The first release of I Write the Songs as a single was by teen idol David Cassidy from his 1975 solo album The Higher They Climb, which was also produced by Johnston. Cassidy's version reached number 11 on the UK Singles Chart in August of that year. Johnston has stated that, for him, the I in the song is God, and that songs come from the spirit of creativity in everyone. He has said that the song is not about his Beach Boys bandmate Brian Wilson. Manilow was initially reluctant to record the song, stating in his autobiography Sweet Life: The problem with the song was that if you didn't listen carefully to the lyric, you would think that the singer was singing about himself. It could be misinterpreted as a monumental ego trip.[3] After persuasion by Clive Davis, then president of Arista Records, Manilow recorded the song, and his version of I Write the Songs was the first single taken from the album Tryin' to Get the Feeling. It first charted on the Billboard Hot 100 on November 15, 1975, reaching the top of the chart nine weeks later, on January 17, 1976. Cash Box said of Manilow's version Good work Barry describing the song as melodic, ballad-like beginning grows into an operatic crescendo, all done in clear production that all age groups will appreciate.
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Orchestre
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Barry Manilow
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Kevin Riley
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I Write The Songs
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Kevin Riley
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SheetMusicPlus
The Morning Sky: Serenade for Flute and Piano
Flûte traversière et Piano
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.883406 Composed by Daniel Da…
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.883406 Composed by Daniel Dade. 20th Century,Contemporary. 13 pages. Daniel Dade #3031071. Published by Daniel Dade (A0.883406). This piece was inspired by the sky. A few times a week, I would wake up and the sky would have a red tint, the tint filled me with many different emotions and I improvised at the piano with whatever came to my mind. The minor key represents the gloomy sky and the piece conveys the different types of weather. A dark gloomy red tinted sky, a lighter beautiful tinted sky, a mix of both colors, or a thunderstorm, all of these different weather types are portrayed in this piece.
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Flûte traversière et Piano
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Daniel Dade
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The Morning Sky: Serenade for Flute and Piano
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Daniel Dade
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SheetMusicPlus
Hymn For The Weekend
Trio à Cordes: 2 violons, violoncelle
String Ensemble,String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.868209
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String Ensemble,String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.868209 By Coldplay. By Christopher Martin, Guy Berryman, Jonathan Buckland, Marcos Tovar, Mikkel Eriksen, Scott Zant, Tor Hermansen, Venar Yard, and William Champion. Arranged by Julia Rogers. Rock. Score and parts. 11 pages. Julia Rogers #6073479. Published by Julia Rogers (A0.868209). An arrangement of Coldplay's Hymn For The Weekend, arranged for 2 violins and a cello by Julia Rogers of the Sorelli Ensemble - www.sorelliensemble.com.
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Trio à Cordes: 2 violons, violoncelle
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Coldplay
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Julia Rogers
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Hymn For The Weekend
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Julia Rogers
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SheetMusicPlus
The Girl from Ipanema for Solo Trumpet & Piano
Trompette, Piano
By Various. Arranged by Keith Terrett. Score, Set of Parts. 8 pages. Published by Musi…
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By Various. Arranged by Keith Terrett. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Arranged for Solo Bb Brass & Piano "Garota de Ipanema" ("The Girl from Ipanema") is a Brazilian bossa nova and jazz song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes. English lyrics were written later by Norman Gimbel.<br> <br> The first commercial recording was in 1962, by Pery Ribeiro. The Stan Getz recording featuring the vocal debut of Astrud Gilberto became an international hit. This version had been shortened from the version on the album Getz/Gilberto (recorded in March 1963, released in March 1964) which had also included the Portuguese lyrics sung by Astrud's then husband João Gilberto. In the US, the single peaked at number five on the Billboard Hot 100, and went to number one for two weeks on the Easy Listening chart. Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world.<br> <br> Numerous recordings have been used in films, sometimes as an elevator music cliché. It is believed to be the second most recorded pop song in history, after "Yesterday" by The Beatles. The song was inducted into the Latin Grammy Hall of Fame in 2001. In 2004, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2009, the song was voted by the Brazilian edition of Rolling Stone as the 27th greatest Brazilian song.<br> <br> Ipanema is a fashionable seaside neighborhood located in the southern region of the city of Rio de Janeiro.<br> <br> <br> Helô Pinheiro, the woman who inspired the song, in 2006.<br> The song was composed for a musical comedy titled Dirigível (Blimp), then a work-in-progress of Vinicius de Moraes. The original title was "Menina que Passa" ("The Girl Who Passes By"); the first verse was different. Jobim composed the melody on his piano in his new house in Rua Barão da Torre, in Ipanema. In turn, Moraes had written the lyrics in Petrópolis, near Rio de Janeiro, as he had done with "Chega de Saudade" ("No More Blues") six years earlier.<br> <br> During a recording session in New York with João Gilberto, Antonio Carlos Jobim and Stan Getz, the idea of cutting an English-language version came up. Norman Gimbel wrote the English lyrics. João's wife, Astrud Gilberto, was the only one of the Brazilians who could speak English well and was chosen to sing. Her voice, without trained singer mannerisms, proved a perfect fit for the song. Ethel Ennis and Nat King Cole have also both recorded the song.<br> <br> The song was inspired by Heloísa Eneida Menezes Paes Pinto (now known as Helô Pinheiro), a seventeen-year-old girl living on Montenegro Street in Ipanema. Daily, she would stroll past the Veloso bar-café, not just to the beach ("each day when she walks to the sea"), but in the everyday course of her life. She would sometimes enter the bar to buy cigarettes for her mother and leave to the sound of wolf-whistles. In the winter of 1962, the composers saw the girl pass by the bar. Since the song became popular, she has become a celebrity.<br> <br> In Revelação: a verdadeira Garôta de Ipanema ("Revealed: The Real Girl from Ipanema") Moraes wrote that she was "the paradigm of the young Carioca: a golden teenage girl, a mixture of flower and mermaid, full of light and grace, the sight of whom is also sad, in that she carries with her, on her route to the sea, the feeling of youth that fades, of the beauty that is not ours alone—it is a gift of life in its beautiful and melancholic constant ebb and flow."<br> <br> Ella Fitzgerald recorded this song on her two-disc set of Brazilian music Ella Abraca Jobim, released on the label [[Pablo today}] in 1981.<br> <br> The legacy of "The Girl from Ipanema" was acknowledged by multiple aspects of the 2016 Summer Olympics and Paralympics held in Rio de Janeiro: the Olympic and Paralympic mascots were respectively named Vinicius and Tom after the song's co-writers by a public vote, while the Olympics' opening ceremony featured a segment themed around the song and the architecture of Oscar Niemeyer. Jobim's grandson Daniel performed the song during the segment, which also featured an appearance by Brazilian supermodel Gisele Bündchen. Spotify reported that the song had been streamed on its service 40,000 times per-day in the days following the ceremony (a 1200% increase), while in the U.S., the song reached #5 on Billboard's World Digital Songs chart the following week.
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Trompette, Piano
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Various
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Keith Terrett
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The Girl from Ipanema for Solo Trumpet & Piano
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Music for all Occasions
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SheetMusicPlus
Blinding Lights - The Weeknd (for Harp Solo)
Harpe
By The Weeknd. Arranged by Kirsten Agresta Copely. Solo Part. 5 pages. Published by …
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By The Weeknd. Arranged by Kirsten Agresta Copely. Solo Part. 5 pages. Published by Kirsten Agresta Copely
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Harpe
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The Weeknd
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Kirsten Agresta Copely
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Blinding Lights - The Weeknd
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Kirsten Agresta Copely
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SheetMusicPlus
Save Your Tears (The Weeknd) - String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
By The Weeknd. Arranged by Alison Gillies. Score, Set of Parts. 16 pages. Published by…
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By The Weeknd. Arranged by Alison Gillies. Score, Set of Parts. 16 pages. Published by quartetpad.com
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Quatuor à cordes: 2 violons, alto, violoncelle
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The Weeknd
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Alison Gillies
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Save Your Tears
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quartetpad.com
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SheetMusicPlus
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