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Psalm 145 The Lord Is Near To All Who Call Upon Him - leadsheet
Level 3 - Digital Download SKU: A0.832615 Composed by Bill Hayes. Christian,Praise …
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Level 3 - Digital Download SKU: A0.832615 Composed by Bill Hayes. Christian,Praise & Worship,Sacred,Spiritual. 1 pages. Www.HayesMusicPublishing.com #6454591. Published by www.HayesMusicPublishing.com (A0.832615). Psalm 145: The Lord Is Near To All Who Call Upon Him is written in a leadsheet format with ICEL lyrics and chord symbols; Appropriate for the 25th Sunday in Ordinary Time, Year A, as well as personal reflection.
$1.99
1.83 €
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Bill Hayes
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Psalm 145 The Lord Is Near To All Who Call Upon Him - leadsheet
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www.HayesMusicPublishing.com
#
SheetMusicPlus
Psalm 145: The LORD IS NEAR TO ALL WHO CALL UPON HIM (II)
Level 3 - Digital Download SKU: A0.832328 Composed by Bill Hayes. Contemporary. 1 p…
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Level 3 - Digital Download SKU: A0.832328 Composed by Bill Hayes. Contemporary. 1 pages. Www.HayesMusicPublishing.com #4823073. Published by www.HayesMusicPublishing.com (A0.832328). Psalm 145 is found at http://www.HayesMusicPublishing.com. This psalm setting is suitable for use in Catholic liturgy and other religious services with a simple refrain and common verse melody. It is written in a lead sheet format with single line melody, chord symbols and ICEL lyrics. Easy to learn. Appropriate for religious services when this psalm is desired as well as the 25st Sunday in Ordinary Time, year A.
$1.99
1.83 €
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Bill Hayes
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Psalm 145: The LORD IS NEAR TO ALL WHO CALL UPON HIM
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www.HayesMusicPublishing.com
#
SheetMusicPlus
Topsy Turvy Ragtime 2-step set for 4 low flutes
Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - Digital Download SKU: A0.590491…
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Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - Digital Download SKU: A0.590491 By John Gibson. By Louise Gustin. Arranged by John Gibson. Jazz. 18 pages. JB Linear #199768. Published by JB Linear (A0.590491). Topsy Turvy is a ragtime two step march. Topsy Turvy refers to something that is head over heels or mixed up and confused. It all sounds fine, but you could say the melody could have been written upside down! It is set by John Gibson for 4 low flutes (2 alto, 1 bass, 1 contra flute).
$15.25
14 €
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John Gibson
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John Gibson
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Topsy Turvy Ragtime 2-step set for 4 low flutes
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JB Linear
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SheetMusicPlus
Nearer, My God, to Thee (as played by 'The Piano Guys')
String Ensemble Cello - Level 3 - Digital Download SKU: A0.1259252 By Sarah Flower …
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String Ensemble Cello - Level 3 - Digital Download SKU: A0.1259252 By Sarah Flower Adams and 'The Piano Guys'. By Nearer, My God, to Thee (as played by 'The Piano Guys'). Arranged by Flavio Regis Cunha. Contest,Festival,Film/TV,Instructional,Sacred,Wedding. 17 pages. Flavio Regis Cunha #852516. Published by Flavio Regis Cunha (A0.1259252). Are you a cellist looking for the perfect arrangement to add to your repertoire? Then look no further! Â Introducing 'Nearer, My God, to Thee' composed by Sarah Flower Adams as heard on 'The Piano Guys'. This beautifully arranged piece is perfect for a violoncello quartet. Â For amateurs, students, and professionals alike, this sheet music provides an excellent opportunity to learn and practice the intricate and soaring melodies of this timeless song. The sheet music also makes a delightful addition to any repertoire, providing a wonderful, powerful, and meaningful performance. Â Experience the beauty of 'Nearer, My God, to Thee' the way it was intended with this arranger sheet music from 'The Piano Guys'. Your audience will be in awe of your musical skill in no time!Advanced-IntermediateFormat: Concert, 9 x 12 inches8 pages.Program NotesThe Piano Guys bring to life Sarah Flower Adams's traditional hymn Dawn in this lively arrangement for four violoncellos. In this unique interpretation, the alluring melody of the strings conjure up feelings of anguish and hope evoked by the original hymn. Throughout the piece, the four cellists navigate an intricate combination of Renaissance-era chords, lush harmonies, and entrancing held notes that transition between moments of minor despair and major triumph within the same breath. As the layers of four strong, soulful voices come together at the end, we are left with feelings of optimism and promise, that no matter the tribulations we may face, dawn brings us a sense of renewal.
$12.99
11.93 €
#
Sarah Flower Adams and 'The Piano Guys'
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Flavio Regis Cunha
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Nearer, My God, to Thee
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Flavio Regis Cunha
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
44.03 €
#
Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was instead the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can sound perfectly in balance in contrast.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges shown by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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jmsgu3
#
SheetMusicPlus
I Am Thine (Draw Me Nearer)
Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.997595 Com…
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Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.997595 Composed by William H. Doane. Arranged by Richard E Brown. Praise & Worship,Sacred. Score and parts. 12 pages. Dacker Music #603238. Published by Dacker Music (A0.997595). Composed in 1875, I Am Thine is one of the best-known of about 2,200 hymn tunes penned by Willliam Howard Doane (1832-1915). This arrangement is for unaccompanied F horn and euphonium (alt. trombone, bassoon, or cello) duet. Besides a few obscure texts, the only popular hymn commonly sung to this tune is the original text it was written with, Fanny Crosby's I Am Thine, O Lord, sometimes called by the first line of its refrain, Draw Me Nearer. Separate parts are provided to avoid awkward page turns. The euphonium part can also be played on trombone, bassoon, cello, and (with supplementary Bb treble part) baritone TC or tenor sax. Grade 3 - Duration 2:00.
$4.95
4.55 €
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William H
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Richard E Brown
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I Am Thine
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Dacker Music
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
#
Giovanni Gabrieli
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James M
#
1 Bass Trombone
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Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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jmsgu3
#
SheetMusicPlus
The William Bay Collection - Sacred Guitar Solo Anthology #2
Guitar - Intermediate - Digital Download SKU: M0.WBM75MEB Folk. Ebook and online au…
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Guitar - Intermediate - Digital Download SKU: M0.WBM75MEB Folk. Ebook and online audio. 141 pages. Mel Bay Publications - Digital Sheet Music #WBM75MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM75MEB). ISBN 9781513478005. 8.75X11.75 inches.This is a collection of 86 guitar solos in notation only from William Bay’s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment. All 86 solos have been recorded and are available as online downloads with this book.
Song List: Adoro Devote All My Trials All the Way My Savior Leads Me Lowry CrosbyINeed Thee Every Hour Lowry Hawks Balm in Gilead Benediction Bread of the World Eucharistic Hymn Canticle #1 Canticle #2 Close to Thee Vail Crosby Every Day and Every Hour Doane Crosby Come to the Feast Compline Consecration Deep River Evening Prayer Gloria God Unseen Yet Ever Near St Flavian Have Thine Own Way, Lord Adelaide He Hideth My Soul Kirkpatrick Crosby Here, O My Lord, I See Thee Face to Face Penitentia Higher Ground Gabriel Oatman Hold to God’s Unchanging Hand Eiland Holy Is The Lord I Love to Tell the Story Fischer Hankey At the Cross Hudson Watts I Will Arise and Go to Jesus Arise I Will Praise Him Harris More Love to Thee Doane Prentiss Jesu, Joy of Man’s Desiring Jesus Paid It All Grape HallI Am Coming, Lord Hartsough Jesus Spreads His Banner O’er Us Autumn Just As I Am Woodworth Kyrie Eleison Lamb Of God Lenten Meditation Let All Mortal Flesh Keep Silence Picardy Let Us Break Bread Together Light Of The World Litany Lonesome Valley Look Down That Lonesome Road Lord, I’m Coming Home Kirkpatrick Draw Me Nearer Kirkpatrick Crosby Lord, Speak to Me Canonbury Meditation on Psalm My Faith Looks Up to Thee Olivet My Lord, My God My Shepherd Will Supply My Need Resignation Nearer, My God, to Thee Bethany Never Alone Anon Night Prayer Nobody Knows The Trouble I’ve Seen O Esca Viatorum Pass Me Not Doane Crosby Only Trust Him Stockton Peace Praxis Pietatis Melica Prayer Prayer of Simeon Psalm 102:1 Hear My Prayer, O Lord Psalm 118:24 This Is the Day That the Lord Hath Made Psalm 119:28 My Soul Is Heavy with Sorrow Psalm 126:6 They That Sow in Tears Psalm 128:1 Blessed Are They That Fear the Lord Psalm 139:7 Where Shall I Go From Thy Spirit Psalm 142:3 When My Spirit Grows Faint Within Me Psalm 144:3 Lord, What Is Man Psalm 16:1 Keep Me Safe, O God Psalm 19:1 The Heavens Declare the Glory of God Psalm 34:18 The Lord Is Close to the Broken Hearted Psalm 65:2 Thou That Hearest Prayer Psalm 88:13 Unto Thee Have I Cried, O Lord Rendez a Dieu Sanctus Shall We Gather at the River Lowry Softly And Tenderly Sometimes I Feel Like a Motherless Child St Gregory Chorale Steal Away Sweet By and By Webster Bennett Leaning on the Everlasting Arms Showalter Hoffman Sweet Hour of Prayer Showalter Hoffman Is Your All on the Altar Hoffman Swing Low, Sweet Chariot The Lord’s Supper Way To God Be the Glory Doane Crosby Turn Your Eyes Upon Jesus He Is Lord Wade In The Water Wayfaring Stranger We Give Thee Thanks Were You There What a Friend We Have in Jesus Converse When I Lay My Burdens Down
$24.99
22.95 €
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The William Bay Collection - Sacred Guitar Solo Anthology #2
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Les Mystères: Attendez l'Epoux - Score Only
Level 3 - Digital Download SKU: A0.1166886 Composed by Suzy Robinson. Arranged by S…
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Level 3 - Digital Download SKU: A0.1166886 Composed by Suzy Robinson. Arranged by Suzy Robinson. 20th Century,Chamber,Contemporary. 5 pages. Suzy Robinson #767094. Published by Suzy Robinson (A0.1166886). I wanted to write something based on a mediaeval mystery play and happened across an 11th Century version of the play of the Bridegroom – the tale of the wise and the foolish virgins. It was called Sponsus and is the oldest of this type of play written in both the vernacular and in Latin. What is even more extraordinary is that it is, in fact, a trilingual text in Latin, langue d'oc, and some words in the langue d'oïl. The passage which I have set is in langue d'oc, but for ease of singing I used a modern-French translation. This is scored for soprano, baroque violin, and viola da gamba. It can be performed at 415 or 440 ad libertum.I am very taken by the patchwork nature of mystery plays which is part promenade, part liturgy, part staged, part audience participation. I hope that having set a straightforwardly strophic text and using instruments more often heard in Early Music, jigsaws well with the more modern angular and sometimes dissonant nature of the melodic lines of this piece. I love the play of languages, and the mixing up through words and music of past, present, and future, revealing that time is perhaps a circuitous exploration rather than a strictly linear trajectory. And the end of all our exploring / Will be to arrive where we started / And know the place for the first time..
$3.99
3.66 €
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Suzy Robinson
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Suzy Robinson
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Les Mystères: Attendez l'Epoux - Score Only
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Suzy Robinson
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SheetMusicPlus
Chamtengure
Percussion Ensemble Hand Drum,Marimba,Shaker - Level 3 - Digital Download SKU: A0.12622…
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Percussion Ensemble Hand Drum,Marimba,Shaker - Level 3 - Digital Download SKU: A0.1262203 Composed by Traditional Zimbabwe. Arranged by Adam Miller. Folk,Multicultural,Traditional,World. 7 pages. Adam Miller #855243. Published by Adam Miller (A0.1262203). A number of years ago, I had the opportunity to join a team that traveled to Uganda, Africa as part of a mission group.  While there, we had the pleasure of seeing a traditional marimba and percussion ensemble perform.  A longtime marimbist and avid percussionist, I spent some time following the concert visiting with some of the performers.  Although their music is passed down through visual and audial instruction (rather than traditional western notation) the group’s leader was kind enough to teach me one of their traditional songs.  Years later, I came across my (copious) notes from that trip and decided at last to write down what I had learned.What makes Chamtengure such a delight to perform – aside from its energy and joy – is its versatility.  Although notated for two 5-octave marimbas, larger ensembles have the option to double parts in various registers for a fuller sound.  Combined with the encouragement to include shaker and hand drums ad lib throughout the piece (except where noted otherwise) this has the ability to fit nearly any ensemble size.  Fast-paced, repetitive two-measure patterns that build and play off each other makes Chamtengure a guaranteed success with ensembles and audiences alike!
$19.99
18.36 €
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Traditional Zimbabwe
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Adam Miller
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Chamtengure
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Adam Miller
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SheetMusicPlus
Just The Two Of Us
Small Ensemble Flute,Guitar,Piano,Violin - Level 3 - Digital Download SKU: A0.837431
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Small Ensemble Flute,Guitar,Piano,Violin - Level 3 - Digital Download SKU: A0.837431 By Grover Washington Jr. With Bill Withers. By Bill Withers, Ralph MacDonald, and William Salter. Arranged by Nathan Allen. Soul. Score and parts. 2 pages. Nathan Martin Allen #3359405. Published by Nathan Martin Allen (A0.837431). This is my version of Just the Two of Us. This song was originally by Grover Washington Jr. & Bill Withers. Use this as a lead sheet to guide your performances, There is a solo section near the end giving you room for improvisation. This song is one of my all time favourites to perform, I hope you have as much fun with it as I do!
$4.99
4.58 €
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Grover Washington Jr
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Nathan Allen
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Bill Withers
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Just The Two Of Us
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Nathan Martin Allen
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SheetMusicPlus
Just The Two Of Us
Small Ensemble Soprano Saxophone,Tenor Saxophone,Trumpet - Level 3 - Digital Download S…
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Small Ensemble Soprano Saxophone,Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.837433 By Grover Washington Jr. With Bill Withers. By Bill Withers, Ralph MacDonald, and William Salter. Arranged by Nathan Allen. Soul. Score and parts. 2 pages. Nathan Martin Allen #3359413. Published by Nathan Martin Allen (A0.837433). This is my version of Just the Two of Us. This song was originally by Grover Washington Jr. & Bill Withers. Use this as a lead sheet to guide your performances, There is a solo section near the end giving you room for improvisation. This song is one of my all time favourites to perform, I hope you have as much fun with it as I do!
$4.99
4.58 €
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Grover Washington Jr
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Nathan Allen
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Bill Withers
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Just The Two Of Us
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Nathan Martin Allen
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
44.03 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Tivoli Circus Polka
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Ten…
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1429353 By Robert Stevens. By Christian Teilman. Arranged by Robert Stevens. 19th Century,Chamber,Classical. 16 pages. SAXpress.com #1010066. Published by SAXpress.com (A0.1429353). Tivoli Circus Polka Christian Tielman Saxophone Quartet, flex scoring Tivoli Circus Polka by Norwegian composer, Christian Teilman arranged for saxophone quartet with flexible scoring. This piece is named after Tivoli, the famous amusement park in Copenhagen. Like much of Teilman’s light music, it has an attractive melody and jaunty rhythms.This piece is scored for Saxophone Quartet with flexible scoring. It is intended for AATB sax quartet but has additional parts so that nearly any combination of saxes may play it. The following parts are included: Part 1 for Alto Sax 1 Part 1 for Soprano Sax (a. sx. 1 double) Part 2 for Alto Sax 2 Part 2 for Tenor Sax 2 (a. sx. 2 double) Part 3 for Tenor Sax 1 Part 3 for Alto Sax 3 (t. sx. 1 double) Part 4 for Baritone Sax Part 4 for Tenor Sax 3/bass sax (b. sx. double) Parts may be played in any combination.Tivoli Circus Polka is a fun little piece that's not too challenging for intermediate players. The melody passes back and forth among the three upper voices while the bass line bounces along underneath. All parts have a moderate range with the alto sax 1 having a bit wider range. The piece stays at moderate tempo in 2/4 time throughout. It has a simple ABA form with sub-themes in each section. It opens in F minor, then modulates to F major. The B section is in B-flat major then returns to F major before the recap. With all repeats, performance time is about 2.25 minutes.
$15.95
14.65 €
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Robert Stevens
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Robert Stevens
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Tivoli Circus Polka
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SAXpress.com
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SheetMusicPlus
Katy-dids - Amy Beach, set for clarinet quintet or choir
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.58…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.582223 Composed by Amy Marcy Beach. Arranged by John Gibson. 20th Century,Instructional. 11 pages. JB Linear #6603457. Published by JB Linear (A0.582223). Amy Marcy Beach (1867 - 1944) was a pioneering woman composer at a time when women were barely considered by music publishers. She has been acclaimed to be the first important American woman composer. As a child Amy was allowed rather than encouraged to further her obvious musical talent. She wrote in a mature and virtuosic style for piano with use of chromaticism, fine melodic lines, and Impressionistic styles. This is her Katy-dids set for clarinet quintet or clarinet choir by John Gibson. A katy did is a type of cricket and this piece would classify as a rhythm game. Can you keep up with the cricket rhythms?
$10.25
9.41 €
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Amy Marcy Beach
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John Gibson
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Katy-dids - Amy Beach, set for clarinet quintet or choir
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JB Linear
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Dal tuo soglio luminoso ( Extract from Aria Antiche Vol.1 )
Instrumental Duet,Mezzo-Soprano Voice - Level 3 - Digital Download SKU: A0.1430917 …
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Instrumental Duet,Mezzo-Soprano Voice - Level 3 - Digital Download SKU: A0.1430917 By Alessandro Parisotti. By Leonardo Léo ( 1694 - 1745 ). Arranged by Terry Carpenter. Baroque. 23 pages. Terry Carpenter #1011421. Published by Terry Carpenter (A0.1430917). Transcription for classical guitar of a lyrical aria extract from volume one of the famous Aria Antiche by Alessandro Parisotti. I have added a tablature of the guitar part and the chords. Thus, no need for a piano: you can sing and accompany yourself on the beach or near the campfire! If the guitar part seems sometimes difficult, play the chords - it works!The Fm key is very restrictive for the guitar, especially in the first position. One solution would be to write the guitar part in Em and play it with a capo in the first fret. I intend to edit a version in E minor, which will be ideal for the guitar, and should not significantly alter the clarity of the voices.On the other hand, the piece lasts about 9 minutes, which is a long time. I suggest you cut the piece after bar 81, the rest being a repeat of the first motif.On the pdf, you will find the score, the soprano and mezzo - soprano voice part, the guitar part and a guitar and tablature part.The mp3 was made by musical software.Contact: carpentermusic@yahoo.com.
$4.99
4.58 €
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Alessandro Parisotti
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Terry Carpenter
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Dal tuo soglio luminoso
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Terry Carpenter
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SheetMusicPlus
The Maid of Culmore - 12-Bell Ensemble
Small Ensemble Handbell - Level 3 - Digital Download SKU: A0.1144876 Composed by Ir…
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Small Ensemble Handbell - Level 3 - Digital Download SKU: A0.1144876 Composed by Irish Folk Song. Arranged by Mark R Lewis. Celtic,Folk,Irish. Score and parts. 2 pages. Mark R Lewis #745195. Published by Mark R Lewis (A0.1144876). The Maid of Culmore is an Irish folk song with surprisingly little documentation. It is thought to date from some time in 1800s from near the city of Culmore, but not much else is known. The city of Culmore was a center for emigration and the lyrics of the song discuss a young man and the search for his love who had moved to America. This version is arranged for 12-bell ensemble by Mark R Lewis for the AGEHR 2022 Composing Masterclass. If played by a quintet or sextet, the piece is simply a matter of counting and keeping track of the melody but if this is played as a trio or quartet, the arrangement will be quite challenging with many instances of a player switching between melody and accompaniment parts multiple times a measure.
$8.49
7.8 €
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Irish Folk Song
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Mark R Lewis
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The Maid of Culmore - 12-Bell Ensemble
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Mark R Lewis
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SheetMusicPlus
No Greater Love
Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105110
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Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105110 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Performance. Duration 254. David Kai #708357. Published by David Kai (A0.1105110). A song for Good Friday. Scripture reference: John 15:13. No one has greater love than this, to lay down one’s life for one’s friends. NO GREATER LOVE words and music by David Kai ©1985 A chilly wind blows upon Calvary's hill, the sky is as dark as the night, the sweat and the blood trickle down to the ground, as the townspeople gaze at the sight, And the hands that once held the children near are nailed onto the tree, Why did you have to suffer that for me? They beat him until he could hardly stand, a crown of thorns pierced his head, and all of that time not a single word in his defense he said, And I stood within that angry crowd that jeered along the way, for I helped to put you on the cross that day. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Saviour took our sins away. For all of my life your boundless love I want to get to know, 'though sometimes I've turned my back on you and I’ve heard the rooster crow, but then you've appeared just like a friend to guide my wandering way, no longer on the cross, you're here today. The Light of the World, the Bread of Life, the Son of God, Morning Star, my earthly mind can't comprehend all of the things you are, but even through glass that's dark and dim, my eyes can plainly see, you loved us so much you died to set us free. CHORUS For the man on the cross filled with sorrow and pain, will bring us to God once again, for no greater love has been shown since that day when the Savior took our sins away. No greater love, no there's no greater love, No greater love, no there's no greater love, There's no greater love than to lay down your life for a friend.
$1.99
1.83 €
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David Kai
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David Kai
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No Greater Love
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David Kai
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SheetMusicPlus
Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.799605 Composed by Robert…
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Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse DiPaolo #3455867. Published by Nicole Elyse DiPaolo (A0.799605). A low-voice-friendly transposition of this relatively little-known Schumann song about the Lorelei (a mythical mermaid-like creature from the Rhine river). It has a one-octave range from C3-C4 as written, so it’s great for an undergraduate singer still sorting out technique. If you would like to commission a customized transposition in another key, please contact me through my website (linked below).About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
$4.95
4.55 €
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Robert Schumann
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Nicole Elyse DiPaolo
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Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
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Nicole Elyse DiPaolo
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SheetMusicPlus
The Cross Kirk and the lang walk
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1438467 By Graham Hamilton. By Graham Hamilton. Classical,Contemporary,Contest,Festival,Historic,Medieval. Brass Band. 83 pages. Hambone Music #1018484. Published by Hambone Music (A0.1438467). A beautiful slow melody in 4/4 followed by a rousing 6/4 trek with fanfares then returning to the slow melody in 4/4. Not overly difficult but players should be around Grade 5 (ABRSM) and bands of around 2nd to 3rd section, although still possible with 4th section bands. Inspired by an old ruined church in my town called the 'Cross Kirk' during the times of the Cromwellian invasion of Scotland.Part 1 It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery. Part 2 It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme. Part 3 The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights. The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination. Part 4 The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters . As he closes his eyes, his mind returns to the knights and a smile crosses his face as he gently drifts off to sleep, as the final bell of the day tolls.
$40.00
36.73 €
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Graham Hamilton
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The Cross Kirk and the lang walk
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Hambone Music
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SheetMusicPlus
de Vitry: Garrit gallus/In nova fert for Brass Trio
Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1347457 Composed by Phili…
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Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1347457 Composed by Philippe De Vitry. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Instructional,Traditional. 15 pages. Jmsgu3 #932258. Published by jmsgu3 (A0.1347457). Philippe de Vitry's Garrit gallus/In nova fert is significant in its historical and musical importance. Composed around 1315, it is one of the earlier works of the Ars Nova, marking a stylistic change in medieval music. The motet is complex, using multiple texts sung simultaneously, isorhythm, and unusual harmonies, which required a new notational system of red ink coloration to indicate the duple. The motet's text is drawn from the opening lines in the two top voices, and it is suggested that it makes a statement about the exile of French Christians, similar to the Jews from their homeland in the Old Testament, and the corrupt leadership at the time. It may make a strong political statement about the corrupt leadership at the time, as it is part of the Roman de Fauvel. This animal fable satirizes the political situation in Paris.Philippe de Vitry, a French composer-poet, bishop, and music theorist, is known for his significant contributions to late medieval music. In the last decade of his life, from 1351 to 1361, he served as the Bishop of Meaux, near Paris. This appointment was the crowning event of his court and church career. As a bishop, Vitry's accomplishments were primarily in the musical and literary domains. He was an innovative and influential composer, widely acknowledged as a leading musician of his day, and his treatise Ars Nova became a rallying cry for all modern composers after about 1320. Additionally, he was known for his French poetry set to music, creating a new style of song, anticipating the work of Guillaume de Machaut. While his tenure as a bishop was relatively short, his lasting impact was in music and poetry.
$24.95
22.91 €
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Philippe De Vitry
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James M
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de Vitry: Garrit gallus/In nova fert for Brass Trio
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jmsgu3
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SheetMusicPlus
Changing Seasons
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1106328 Composed by Colin G Dance. 20th Century,Classical. Brass Band. 62 pages. Dance is With Music #709446. Published by Dance is With Music (A0.1106328). Here’s a new piece I've written that I’ve called ‘Changing Seasons’ because the mood and musical style changes throughout the piece. It’s not too difficult, but there is a tricky little modulation in there! I started piece this back in 2021 but didn’t get past the introduction, but due to a condition I’m not going into here I’ve had a lot of time sat at home near a toilet recently so I’ve been able to spend more time working on it!
$75.00
68.87 €
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Colin G Dance
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Changing Seasons
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Dance is With Music
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SheetMusicPlus
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