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--INSTRUMENTS--
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
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Crtitères actifs :
Four Four for Fun, Solo Harp
avancé
Partitions à imprimer
6 partitions trouvées
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1
I’ll Be With You in Apple Blossom Time (Vocal Solo, Chords, Piano Accompaniment)
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Voix seule
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INTERMÉDIAIRE/AVANCÉ
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Albert Von Tilzer and Neville
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Cathy Stamegna
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I’ll Be With You in Appl
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Cathy Stamegna
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SheetMusicPlus
Vocal Solo,Voice - Level 4 - SKU: A0.780768 Composed by Albert Von Tilzer and Neville Fleeson. Arranged by Cathy Stamegna. Film/TV,Patriotic,Pop,Standar...
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Vocal Solo,Voice - Level 4 - SKU: A0.780768 Composed by Albert Von Tilzer and Neville Fleeson. Arranged by Cathy Stamegna. Film/TV,Patriotic,Pop,Standards,Wedding. 6 pages. Cathy Stamegna #5319677. Published by Cathy Stamegna (A0.780768). I’ll Be With You in Apple Blossom Time (Vocal Solo, Chords, Piano Accompaniment). This standard tune from 1920 begins in 3/4, as recorded by Connie Francis, and changes to an up tempo 4/4 with rhythmic, melodic, harmonic variations. Also recorded by The Andrews Sisters, Dame Vera Lynn, The Four Aces, Barry Manilow, Emmy Rossum to name a few. A good selection to showcase two different vocal styles. Addition of chord symbols allows for a guitar, harp, or mallet instrument to join in! A fun tongue-in-cheek wedding number, too. Since the 4/4 section is more challenging for vocal and accompaniment, it is graded Advanced Intermediate. Piano Accompaniment mp3 available separately. Range A4-C5. Performance Time: 2:29
$4.99
June 1974, Cohoes (Wish List Fundraising)
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Voix Baryton, Piano
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INTERMÉDIAIRE/AVANCÉ
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Brett L
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June 1974, Cohoes
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Sonata Grendel Publishing
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.837497 Composed by Brett L. Wery. Concert,Contemporary. 7 pages. Sonata Grendel Publishing #577024...
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Baritone Horn TC,Vocal Solo,Voice - Level 4 - SKU: A0.837497 Composed by Brett L. Wery. Concert,Contemporary. 7 pages. Sonata Grendel Publishing #5770249. Published by Sonata Grendel Publishing (A0.837497). Letters From Cohoes was originally conceived for Baritone, flute, harp and string Quartet. The first movement is set in Eva Tanguay’s voice and works well dramatically for mezzo-soprano. Eva Tanguay (1879-1947) was born in Canada and billed herself as the girl who made vaudeville famous. She was known for her suggestive songs and extravagant costumes. She has been likened to Madonna or Lady Gaga. Her one recording was I Don’t Care in 1922. Her parents moved to Holyoke, Massachusetts in the 1880’s and she began her career as a teenager at the Cohoes Music Hall. At the age of nineteen she made her debut in New York City. Tanguay was the highest paid woman of her day but was said to have lost more than two million dollars in the Wall Street crash of 1929. Tanguay had a reputation for outlandish behavior and was once fined $50 in Louisville, Kentucky for throwing a stagehand down a flight of stairs. She died, blind and nearly destitute, at the age of 68 in Hollywood. In 1953 Mitzi Gaynor portrayed Eva Tanguay in a fictionalized version of her life in the motion picture, The I Don’t Care Girl. Her ghost is said to still haunt Cohoes Music Hall in upstate New York. Letters from Cohoes is a highly fictionalized, musical portrayal of Eva Tanguay’s ghost. In its original form it was scored for flute (doubling on alto flute, contrabass flute and piccolo), harp, string quartet and solo baritone. It is in four movements, taking the form of letters. Letter 3. June 1974, Cohoes (duration – 2:15) Wish List Fundraising The new stage manager writes a letter to the producers asking for funds to equip the shop. All I need is some money for a hammer and nails, some duct tape, and a circular saw. That's all I need, and a C clamp, maybe two.
$7.99
Seven Steps To Heaven (2002) for string septet or string orchestra
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Seven Steps To Heaven
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Thomas Oboe Lee
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - SKU: A0.869690 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz. Sco...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - SKU: A0.869690 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz. Score and parts. 40 pages. Thomas Oboe Lee #5982647. Published by Thomas Oboe Lee (A0.869690). Seven Steps To Heaven was composed for the Terezin Chamber Music Foundation/Project STEP Summer Education Collaborative in the Berkshires. The work, scored for seven string instruments †2 violins, 2 violas, 2 cellos & contrabass, is in seven sections: four movements with three interludes in between.Moderato, Humble Vale Interlude IFunk ScherzoInterlude IIBossa nova Interlude III Perpetuo motoWhen Mark Ludwig, Director of the Terezin Chamber Music Foundation, told me that Seven Steps would be premiered at the Hancock Shaker Village, I thought it would be most appropriate to use a Shaker tune as a source for this work.The work begins with Humble Vale. Humble Vale is part of the Hancock Hymnal: 1850 compiled by Deborah Rentz Moore.The most obvious element in this beautiful melody is the predominance of the pentatonic mode. The Funk Scherzo movement is a dissertation on pentatonic subsets: major seconds, minor thirds and perfect fourths. The Bossa nova movement, although not pentatonic melodically, is full of chords derived pentatonically: chords stacked in fourths, for example. The last movement, Perpetuo moto, is most definitely pentatonic in its theme: an incessant repeating figure with explosive pentatonic flurries of major seconds, minor thirds and perfect fourths.In between the four movements I have inserted three interludes. Interlude I is an interlocking pair of waltzing pentatonic melodies for two violins. Interlude II is a solemn march on an Fâ€sharp pedal. Interlude III is a quasiâ€canonic descending scale that resolves into a big Gâ€flat major chord. It is my intention that these interludes provide a smooth and slithery connection from one movement into the next. Enjoy!!!The work is dedicated to Miles Davis. His 1963 LP/CD Seven Steps To Heaven is a seminal recording for all music lovers. It made a huge impression on me when I was a teenager in São Paulo, Brazil. I must have listened to it a thousand times. I know every solo by heart. Heaven is Miles’ domain.
$9.99
Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...
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Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99
Four Seasons In One Day
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Crowded House
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Rowena Harper
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Four Seasons In One Day
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Rowena Harper
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.762494 By Crowded House. By Neil Finn and Tim Finn. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Octavo...
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Choral Choir (TTBB) - Level 4 - SKU: A0.762494 By Crowded House. By Neil Finn and Tim Finn. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Octavo. 5 pages. Rowena Harper #4726641. Published by Rowena Harper (A0.762494). This Crowded House favourite uses chords that are true to the song.It features a fun six bar instrumental interlude with a fugal start that interplays the baritone and lead parts and continues into a four part counterpoint section which picks up themes and motives from the original instrumental solo. This section will be an unexpected and fun segment for singers to perfect, and will be sure to be a crowd pleaser.Although it has been published with men's staves, this arrangement has been written in close harmony and could easily be sung by women by changing the staves, in which case it would sound an octave higher.Purchasing allows printing of one copy, and one copy per singer is required.Range (Lowest-Highest): Bass F#2-F#3, Baritone C#4-D4, Lead E3-E4, Tenor A3-A4.
$3.00
Four Seasons In One Day
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Crowded House
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Rowena Harper
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Four Seasons In One Day
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Rowena Harper
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SheetMusicPlus
Voice (TTBB) - Level 4 - SKU: A0.762493 By Crowded House. By Neil Finn and Tim Finn. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Barbershop Qu...
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Voice (TTBB) - Level 4 - SKU: A0.762493 By Crowded House. By Neil Finn and Tim Finn. Arranged by Rowena Harper. A Cappella,Barbershop,Pop. Barbershop Quartet. 5 pages. Rowena Harper #4726635. Published by Rowena Harper (A0.762493). This Crowded House favourite uses chords that are true to the song.It features a fun six bar instrumental interlude with a fugal start that interplays the baritone and lead parts and continues into a four part counterpoint section which picks up themes and motives from the original instrumental solo. This section will be an unexpected and fun segment for singers to perfect, and will be sure to be a crowd pleaser.Although it has been published with men's staves, this arrangement has been written in close harmony and could easily be sung by women by changing the staves, in which case it would sound an octave higher.Range (Lowest-Highest): Bass F#2-F#3, Baritone C#4-D4, Lead E3-E4, Tenor A3-A4.
$15.95
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Four Four for Fun, Solo Harp