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--INSTRUMENTS--
ACCORDEON
ALTO
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BANJO
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CHORALE - CHAN…
CITHARE
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CLOCHES
COR
COR ANGLAIS
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DEEJAY
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FANFARE - BAND…
FLUTE A BEC
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GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
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1 681
Piano & claviers
Piano seul
1 759
Instruments en Do
1 186
Piano, Voix et Guitare
812
Piano, Voix
318
Orgue
215
Accordéon
70
1 Piano, 4 mains
23
Piano Facile
22
Accompagnement Piano
22
Piano Trio: piano, violon, violoncelle
18
Fake Book
5
2 Pianos, 4 mains
5
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano (partie séparée)
1
Orgue, Piano (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 11 instrumentations
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Guitares
Ligne De Mélodie, (Paroles) et Accords
13 037
Ukulele
308
Guitare notes et tablatures
275
Guitare
270
Mandoline
91
Piano, Guitare (duo)
78
Basse electrique
74
Banjo
26
Dulcimer
17
2 Guitares (duo)
15
Paroles et Accords
12
Mandoline, Piano (duo)
10
Ukulele Baryton
8
Ensemble de guitares
6
4 Guitares (Quatuor)
4
Ensemble de Ukulélés
2
Guitare Pedal Steel
2
2 Mandolines (duo)
1
Basse électrique (partie séparée)
1
Luth
1
+ 15 instrumentations
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Voix
Chorale SATB
345
Chorale SSAA
86
Chorale TTBB
84
Chorale 3 parties
35
Chorale Unison
33
Chorale 2 parties
20
Voix haute
15
Voix Tenor, Piano
7
Voix Alto, Piano
6
Voix Soprano, Piano
6
Voix duo, Piano
6
Chorale
5
Voix moyenne, Piano
5
Voix, Guitare
5
Voix Soprano
3
Voix seule
2
Voix basse
2
Voix duo
2
Voix basse, Piano
1
Chorale SSAB, Piano
1
Voix Baryton, Piano
1
Voix Tenor
1
+ 17 instrumentations
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Vents
Clarinette et Piano
220
Flûte traversière et Piano
219
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
214
Flûte, Hautbois, Clarinette, Basson
191
Quatuor de Saxophones: 4 saxophones
184
Quintette de Saxophone: 5 saxophones
180
Hautbois, Piano (duo)
174
Ocarina
160
Saxophone Alto et Piano
156
Flûte à bec Alto
131
Saxophone Tenor et Piano
112
2 Saxophones (duo)
110
Quatuor de Clarinettes: 4 clarinettes
101
2 Flûtes traversières (duo)
97
Flûte à bec Soprano
82
Quintette de Clarinettes: 5 clarinettes
80
2 Clarinettes (duo)
78
Quatuor de Flûtes : 4 flûtes
76
Clarinette
62
Ensemble de saxophones
60
Ensemble de Clarinettes
56
Clarinette, Harpe (duo)
56
Flûte traversière
45
3 Clarinettes (trio)
44
Quintette de Flûte : 5 flûtes
40
Flûte, Clarinette (duo)
37
Saxophone Alto
36
Flûte et Guitare
36
Flûte à bec Alto, Piano
30
2 Hautbois (duo)
27
Trio de Flûtes: 3 flûtes
27
Saxophone Tenor
27
Saxophone, Clarinette (duo)
24
Flûte, Hautbois, Clarinette (trio)
24
Ensemble de Flûtes
23
3 Saxophones (trio)
21
Saxophone (partie séparée)
21
Clarinette, Violon (duo)
20
Ensemble De Flûte à bec
19
Saxophone Soprano et Piano
19
Hautbois (partie séparée)
18
Clarinette, Trompette (duo)
16
Flûte, Violon
16
Cor anglais, Piano
13
Hautbois, Clarinette (duo)
13
Hautbois, Basson (duo)
11
Flûte, Alto (duo)
11
Hautbois, Clarinette, Basson (trio d'anches)
10
Flûte, Clarinette et Basson
9
Flûte, Saxophone (duo)
9
Hautbois, Flûte
9
Flûte, Trompette (duo)
8
2 Flûte à bec (duo)
8
Saxophone
7
Harmonica
7
Quatuor de Flûtes à bec
6
Flûte à Bec
6
Clarinette et Alto
5
Flûte à bec Soprano, Piano
4
Clarinette, Guitare (duo)
4
Saxophone Baryton, Piano
4
Flûte, Hautbois (duo)
4
Flute, harpe et violon
4
Flûte, Violon, Piano
3
Cor Anglais
3
Flûte, Violoncelle, Piano (trio)
3
Instruments en Mib
3
Clarinette Basse, Piano
3
Clarinette (partie séparée)
3
2 Clarinettes, Piano
3
Clarinette, Basson (duo)
2
Hautbois, Guitare (duo)
2
Piccolo
2
Flûte, Hautbois, Violon
2
Flûte irlandaise
2
Flûte, Clarinette, Piano (trio)
2
Saxophone et Guitare
2
Flûte, Clarinette, Violon (trio)
2
Ensemble à vent
2
Flûte, Violoncelle
1
2 Flûtes traversières, Harpe
1
Flûte à bec, Harpe
1
Clarinette, Violoncelle (duo)
1
2 Flûtes traversières, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Ensemble de Hautbois
1
Flûte, Trombone (duo)
1
2 Saxophones, Piano
1
5 Flûtes à bec
1
Cor anglais, Guitare (duo)
1
Flûte de Pan
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Harpe
1
Flûte, Hautbois, Basson
1
Clarinette, Trombone (duo)
1
Flûte, Harpe et Violoncelle
1
+ 91 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
165
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
134
Trombone et Piano
107
Trompette
97
Ensemble de Trompettes
63
Trompette, Piano
62
Trombone
38
2 Trombones (duo)
28
Quatuor de Cuivres: 2 trompettes, Cor, trombone
26
Quatuor de Cuivres
26
Cor et Piano
24
2 Trompettes (duo)
23
Trompette, Saxophone (duo)
18
Ensemble de Trombones
18
Trompette, Trombone (duo)
17
Tuba
16
Cor
15
Cor anglais, Piano
13
2 Cors (duo)
10
Trompette (partie séparée)
8
Euphonium
7
Quatuor de cuivres: 4 cors
7
3 Trompettes (trio)
6
2 Tubas (duo)
6
Quatuor de cuivres: 4 trombones
6
Trompette et Guitare
5
Trio de Cuivres
5
Quatuor de cuivres: 4 trompettes
5
Instruments en Sib
5
Tuba et Piano
5
Bass Clef Instruments
5
Trombone (partie séparée)
4
2 Euphoniums (duo)
4
Cor Anglais
3
3 Trombones (trio)
3
Euphonium, Tuba (duo)
2
Euphonium, Piano (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Tuba (duo)
1
Tuba (partie séparée)
1
Cor anglais, Guitare (duo)
1
4 Tubas
1
Cor (partie séparée)
1
+ 38 instrumentations
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Cordes
Harpe
979
Quatuor à cordes: 2 violons, alto, violoncelle
504
Violon et Piano
218
Alto, Piano
165
Harpe, Flûte (duo)
139
Violoncelle, Piano
131
Violon
97
2 Violons (duo)
59
Violon, Violoncelle (duo)
47
Quintette à cordes: 2 violons, alto, violoncelle, basse
44
Trio à Cordes: violon, alto, violoncelle
42
Violoncelle
41
2 Harpes (duo)
35
Violon, Alto (duo)
33
2 Violoncelles (duo)
31
Quatuor à cordes: 4 violons
26
Alto seul
24
Trio à Cordes: 2 violons, violoncelle
23
2 Altos (duo)
19
Ensemble de Violons
15
Ensemble d'Altos
14
Alto (partie séparée)
12
Trio à cordes: 3 violins
11
Harpe, Voix
10
Trio à Cordes: 3 violoncelles
9
Contre Basse
9
Harpe et mandoline
9
Violon (partie séparée)
7
Violon, Guitare (duo)
7
4 Violoncelles
7
Violoncelle , Guitare (duo)
6
Harpe, Violon (duo)
6
Trio à Cordes: 2 violons, alto
5
Alto, Violoncelle (duo)
5
Alto, Guitare (duo)
4
Quatuor à cordes : 4 altos
4
2 Contrebasses (duo)
3
Piano Trio: Violon, Alto, Piano
3
Contrebasse, Piano (duo)
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Harpe, Violoncelle (duo)
2
Violon, Clarinette, Piano (trio)
1
Alto et Harpe
1
Ensemble de Violoncelles
1
Contrebasse (partie séparée)
1
4 Contrebasses
1
2 Violons, Piano
1
Flûte, Contrebasse (duo)
1
Trio à cordes: 3 altos
1
Violon, Basse continue
1
+ 45 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
222
Orchestre à Cordes
141
Ensemble Jazz
117
Ensemble de cuivres
106
Orchestre
58
Cloches
43
Orchestre de chambre
27
Ensemble de Percussions
21
Jazz combo
20
Batterie
15
Fanfare
13
Percussion
12
Vibraphone
3
Instrumentation Flexible
2
Conga
1
Bodhran
1
Caisse Claire
1
2 Xylophones
1
Batterie (partie séparée)
1
+ 14 instrumentations
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Autres
Théorie de la musique
5
Formation musicale - Solfège
3
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ACCORDEON
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BATTERIE
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BUGLE
CHANT - CHO…
CHARANGO
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CLARINETTE
CLAVECIN
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CONTREBASSE
COR
COR ANGLAIS
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CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
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▽ INSTRUMENTS
ACCORDEON
ALTO
AUTRES INSTRU…
BALALAIKA
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BATTERIE
BOUZOUKI
BUGLE
CHANT - CHORA…
CHARANGO
CITHARE
CLARINETTE
CLAVECIN
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CONTREBASSE
COR
COR ANGLAIS
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FLUTE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
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CHORALE - CHAN…
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1676
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman ...
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Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina,...
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Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
Largo (from "Symphony No. 9") ("From the New World") (Db) Viola Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romant...
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String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533949. Published by Regis Bookshar (A0.813839). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Viola Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Viola Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 2 Violins, 1 Viola, 1 Ce
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533931. Published by Regis Bookshar (A0.813833). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 2 Violins, 1 Viola, 1 Violoncello and 1 Double Bass, he has made quite a few other arrangements of this sel.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (Euphonium Quintet - Bass Clef)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Euphonium - Level 3 - SKU: A0.813827 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Scor...
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Brass Ensemble Euphonium - Level 3 - SKU: A0.813827 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533911. Published by Regis Bookshar (A0.813827). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Euphonium Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Euphonium Quintet written in Bass Clef, he has made quite a few other arrangements of this selection which are readily available for a.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (French Horn Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Horn - Level 3 - SKU: A0.813830 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and...
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Brass Ensemble Horn - Level 3 - SKU: A0.813830 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533921. Published by Regis Bookshar (A0.813830). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (French Horn Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a French Horn Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instr.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (Brass Quintet - 3 Trp, 2 Trb)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 3 - SKU: A0.813825 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Pe...
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Brass Ensemble Trombone,Trumpet - Level 3 - SKU: A0.813825 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533903. Published by Regis Bookshar (A0.813825). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Brass Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Brass Quintet, but in this case, consisting of 3 Trumpets and 2 Trombones, he has made quite a few other arrangements of this selection wh.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (Euphonium Quintet - Treble Clef)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Euphonium - Level 3 - SKU: A0.813828 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards....
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Brass Ensemble Euphonium - Level 3 - SKU: A0.813828 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533917. Published by Regis Bookshar (A0.813828). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Euphonium Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Euphonium Quintet written in Treble Clef, he has made quite a few other arrangements of this selection which are readily available for a wi.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (Violoncello Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet Cello - Level 3 - SKU: A0.813841 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Perio...
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String Ensemble,String Quintet Cello - Level 3 - SKU: A0.813841 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533955. Published by Regis Bookshar (A0.813841). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Violoncello Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Violoncello Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 3 Violins, 1 Cello, 1 Ba
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813834 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813834 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533937. Published by Regis Bookshar (A0.813834). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 3 Violins, 1 Violoncello and 1 Double Bass, he has made quite a few other arrangements of this selection which a.
$15.00
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 3 Violins, 1 Viola, 1 Ce
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813835 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813835 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533939. Published by Regis Bookshar (A0.813835). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 3 Violins, 1 Viola and 1 Violoncello, he has made quite a few other arrangements of this selection which ar.
$15.00
Finnish National Anthem for String Orchestra
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Fredrik Pacius
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Keith Terrett
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Finnish National Anthem for St
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Keith Terrett
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Pra...
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String Orchestra - Level 3 - SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Praise & Worship,Traditional,World. 8 pages. Keith Terrett #811977. Published by Keith Terrett (A0.1511019). An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.Maamme (Finnish: [ˈmɑːmːe]) or Vårt land (Finland Swedish: [ˈvoːrt ˈlɑnːd]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min izāmō (My Fatherland).The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme Love anthems, then join me on twitter, facebook, instagram & soundcloud for updates.
$8.99
Largo (from "Symphony No. 9") ("From the New World") (Db) (Woodwind Ensemble)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.813846 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards...
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Woodwind Ensemble - Level 3 - SKU: A0.813846 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. 18 pages. Regis Bookshar #6537757. Published by Regis Bookshar (A0.813846). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Woodwind Ensemble) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (24 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, he has created this version for a Woodwind Ensemble. Parts included with the purchase are a 1st Flute, a 2nd Flute, a 1st Oboe, a 2nd Oboe, a 1st Clarinet in Bb, a 2nd Clari.
$18.00
Jupiter (Andante Maestoso from "Jupiter, the Bringer of Jollity" from The Planets) (Bb) (Euphonium Q
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Gustav Holst
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Regis Bookshar
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Jupiter
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Euphonium - Level 3 - SKU: A0.813708 Composed by Gustav Holst. Arranged by Regis Bookshar. 20th Century,Contemporary,Standards,Wedding. S...
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Brass Ensemble Euphonium - Level 3 - SKU: A0.813708 Composed by Gustav Holst. Arranged by Regis Bookshar. 20th Century,Contemporary,Standards,Wedding. Score and parts. 9 pages. Regis Bookshar #6474537. Published by Regis Bookshar (A0.813708). Jupiter (Andante Maestoso from Jupiter, the Bringer of Jollity from The Planets) (Euphonium Quintet) - Intermediate - . This marvelous arrangement of the Andante Maestoso section from Jupiter, the Bringer of Jollity from Gustav Holst's The Planets, would be a fabulous addition to any music library and could be performed for concerts and recitals but if you are considering using this selection for church services in which a congregation may sing along, I would suggest that you look for the arrangements of either I Vow to Thee, My Country, O God, Beyond All Praising, O Spirit All Embracing or Thaxted, also by Regis Bookshar. They are all based on the same excerpt from Jupiter, the Bringer of Jollity from The Planets. These arrangements are suitable for high school and college students but professional musicians would also enjoy playing these selections as well. Included are a score and a complete set of parts (9 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time. We have performed the Trumpet Quintet version of this composition quite often for numerous weddings and other special occasions.The Planets, written between 1914 and 1917 by the English composer Gustav Holst, premiered at the Queen's Hall in London, on September 29, 1918 for an invited audience of about 250 people. In the fourth movement, Jupiter, the Bringer of Jollity, Holst portrays Jupiter's supposedly characteristic abundance of life and vitality. Nobility and generosity are allegedly characteristics of those born under Jupiter, and in the slower, middle section marked Andante Maestoso, perhaps the most well-known theme from The Planets (and the theme on which this arrangement is based), Holst provides a broad tune embodying these traits. In 1921, Holst adapted the theme to fit the patriotic poem I Vow to Thee, My Country by Cecil Spring Rice, and was written as a unison song with orchestra. It did not appear as the hymn tune until 1926, when Holst harmonized this melody, named Thaxted, named after the English village where he had lived for many years. Holst's friend Ralph Vaughan Williams included it in Songs of Praise. It has since been performed at numerous occasions, most notably for the wedding of Prince Charles and Diana, Princess of Wales in 1981, and also at the funerals of Princess Diana in 1997, Margaret Thatcher in 2013 and Senator John McCain where it was performed at the Washington National Cathedral on September 1, 2018. In addition to being used as the melody for the solemn, patriotic hymn I Vow to Thee, My Country, other settings of this hymn tune also include O God, Beyond All Praising, by Michael Perry in 1982, O Spirit All Embracing by Delores Dufner in 1995 and We Praise You and Acknowledge You, O God, a paraphrase of the Te Deum Laudemus by Stephen P. Starke in 1999.Regis Bookshar thought that it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to the Trumpet Quintet version and this version for a Euphonium Quintet, written in Bass Clef, he has made quite a few other arrangements of this selection. There is also a version for a Euphonium Quintet written in Treble Clef, if you would prefer. There are Quintets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are added as often as possible. I'm certain that this beautif.
$12.00
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