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The Right One
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136
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106
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3
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3
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2
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1
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1
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1
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1
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1
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4
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3
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3
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1
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14
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1
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1
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1
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Saxophone
25
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7
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4
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1
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36
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11
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9
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7
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1
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16
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5
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4
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4
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2
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1
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37
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30
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16
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12
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7
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Partitions à imprimer
136 partitions trouvées
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126
4 x 2 x 1 Bass Trombone Solo with Double Trombone Quartet
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Jim Pugh
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4 x 2 x 1 Bass Trombone Solo w
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.811134 Composed by Jim Pugh. 20th Century,Contemporary,Jazz. Score and parts. 43 pages. Gordon Cherry #53376...
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Brass Ensemble Trombone - Level 5 - SKU: A0.811134 Composed by Jim Pugh. 20th Century,Contemporary,Jazz. Score and parts. 43 pages. Gordon Cherry #5337657. Published by Gordon Cherry (A0.811134). Jim Pugh's 4 x 2 x 1 is written for Bass Trombone solo with a double Trombone Quartet accompaniment. It is appropriate for advanced performers and is about 8 1/2 minutes in length. Here is what Jim Pugh says about his composition 4 x 2 x 1: Dave Taylor and I have had a long musical association going back to my first recording sessions with him in New York in 1976 and continuing for 30+ years, including, among many things, two Pugh/Taylor Project recordings. When Dave was putting together the 1999 Manhattan School of Music Trombone Day, he asked me to write a piece featuring him along with his invited guest artists, the Four Of A Kind Trombone Quartet and the Vienna Trombone Quartet – hence the title: 4 (quartet) x 2 (two of them) x 1 (1 soloist). I enjoyed the opportunity to feature not only the bass trombone but, at times, the bass trombone trio that the orchestration provides. The piece is loosely in Rondo form. After an initial statement of the Theme, there follows three unrelated Vignettes separated by variations on the original Theme. A brief GP introduces an improvisation from the bass trombone soloist leading to the final statement of the Theme. The score reflects the correct positioning of the players, left to right, with the two quartet bass trombones on either end of the group and the two first tenor players in the middle, flanking the bass trombone soloist. A little aside here, the tenor trombone solo beginning in measure 77 was specifically written for another dear friend, colleague and collaborator, Joe Alessi. It was a great thrill and honor to have been asked to write music for not only Dave but also two of the best trombone quartets in existence at that time, knowing that anything I wrote would be so beautifully performed. This piece was recorded on the Signum Records CD: The Graham Ashton Brass Ensemble Plays The Music of James Pugh and Daniel Schnyder.
$35.00
Volume 1 - The Complete Marches of John Philip Sousa
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John Philip Sousa
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Matthew Nunes
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Volume 1 - The Complete Marche
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Matthew Nunes Music
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SheetMusicPlus
Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1177300 Composed by John Philip Sousa. Arranged by Matthew Nunes. 19th Century,Chamber,Historic...
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Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.1177300 Composed by John Philip Sousa. Arranged by Matthew Nunes. 19th Century,Chamber,Historic,March,Patriotic. 322 pages. Matthew Nunes Music #777309. Published by Matthew Nunes Music (A0.1177300). Includes 17 Marches:Review, The Honored Dead, Revival, Across the Danube, Esprit De Corps, On the Tramp, Resumption, Globe and Eagle, Our Flirtation, Recognition, Guide Right, President Garfield’s Inauguration, In Memoriam, Right Forward, The Wolverine, Yorktown Centennial, Congress HallThese Brass Quintet arrangements were made using “The President’s Own†United States Marine Band’s The Complete Marches of John Philip Sousa scores as found at https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/. Section titles (such as “First Strain†and “Trioâ€) follow the measure numbers provided by that edition. Each instrument follows its full-band part as often as possible, the only exception being Trombone covering the Euphonium/Baritone part. Because of this, Euphonium/Baritone would make a suitable substitute. Volume 1 is a collection of Sousa’s earliest efforts of march composition, from 1873 to 1882. Here we witness experimentations in form, key, and construction as the later-dubbed “March King†hones his stride. These arrangements are intended for concert and ceremony alike, enabling brass players to enjoy and share one of their champions.
$24.99
Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)
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Contemporain
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Sarah Wallin Huff
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Fair Katrinelje and Pif-Paf-Po
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Novel Soundtrax
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SheetMusicPlus
Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Sou...
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Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister Käsetraut all respond in turn similarly – essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
$15.00
1809 - The Solent
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Contemporain
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J Farrow
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1809 - The Solent
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Jamie Farrow
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Flute,Harp,Horn,Multi-Percussion,Viola,Violin - Level 5 - SKU: A0.948672 Composed by J Farrow. Contemporary. Score...
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Harp,Horn,Multi-Percussion,Viola,Violin - Level 5 - SKU: A0.948672 Composed by J Farrow. Contemporary. Score and parts. 66 pages. Jamie Farrow #5983915. Published by Jamie Farrow (A0.948672). Turner’s The Sun Setting Through Vapour was my inspiration because of the different layers and zones of interest which influenced my composition’s structure. The central focus of the painting is the setting sun in the central background of the work. The reflection of the sun draws the eye into the foreground and the market scene in the front right zone. This created the first section of my composition, the idea of the sun setting through the vapour before revealing a market scene which then fades back into the atmospheric sun setting through the vapour. The second section moves to the story of the Napoleonic War ships in the middle and backgrounds of the painting using percussion. Reflecting this the section centres around the narrative of a naval battle; the manoeuvring into position and flexing of strength; the pre-battle planning; the calm before and finally the battle itself. The third section draws together two aspects: the sun setting and the prison ship, drawing us from the aftermath of the battle to the journey back to shore showing the juxtaposing emotions of the imagined victorious British (the piccolo) and French prisoners (the cello). Closer to shore the vapour descends and we hear inflections of the market before returning to the sun setting through the vapour with the harbour clock (Tubular Bells) grounding us in real time.
$3.99
Thérèse Brenet : Boustrophédon for flute, clarinet, violin, violoncello and piano
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Therese Brenet
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Thérèse Brenet :
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano,Violin - Level 5 - SKU: A0.532825 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 67 page...
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Small Ensemble Cello,Clarinet,Flute,Piano,Violin - Level 5 - SKU: A0.532825 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 67 pages. Musik Fabrik Music Publishing #44847. Published by Musik Fabrik Music Publishing (A0.532825). The word Boustrophédon is a 16th century expression which refers to an archaic type of writing in which, after having written a line from left to right, one continues the next line from right to left and then alternates directions. This is the way the oldest known latin inscriptions are written, as well as in the traditional writing of the Touaregs The etymology comes from the Greek “bous†or ox and the verbal form “trophéin†or the verb “to turnâ€. These two elements give the image that this writing is traced in the same way that the ox pulled the plow in the fields In the sub-title, there is an evocation of Rimbaud‘s famous “Vowel“ sonnet : : Oh, sublime trumpet full of strange piercing sounds The author wanted to suggest both musically and technically the manner of this style of writing in boustrophedon. The work begins thus with a sonorous strange sonorous background which suggests this type of writing. This strange atmosphere is created by glissandi on the piano strings as well as on the strings of the violin and the violoncello. These alternating movements create “strange piercing sounds†against which the flute and clarinet alternately play brief sequences which create the outline of a melody. Then the atmosphere changes : the violin, the cello and the piano come together in a percussive violent outburst, which creates a tragic, passionate feeling which may also be considered “strange piercing soundsâ€. Several long aleatoric phrases are then presented like a sonorous halo which intensify to bring the lister to an intense Chorale-like phrase which serves as the central pillar of the work. This phrase is repeated several times, each time gaining in intensity to bring the work to its summit. At the conclusion, the theme is presented again with a great violence, this time without the boustropedon but perhaps with “strange piercing soundsâ€. https://www.youtube.com/watch?v=-SdwCOr-wzA.
$29.95
The Souls of the Righteous (Downloadable)
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David M
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The Souls of the Righteous
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Double choir SATB choir a cappella - Difficult - SKU: MQ.50-6066-E Composed by David M. Cherwien. All Saints/All Souls, Lent, Funeral. 15 pages. Morning...
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Double choir SATB choir a cappella - Difficult - SKU: MQ.50-6066-E Composed by David M. Cherwien. All Saints/All Souls, Lent, Funeral. 15 pages. MorningStar Music Publishers - Digital Sheet Music #50-6066-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6066-E). In remembering those who have passed away, this anthem reminds us thatthey are at peace. Using two choirs, the first choir sings a moving text found on the gravestone of Mark Twain's daughter, which instructs nature to show kindness and gentleness to the one who has passed. The second choir sings the angelic message thatthe souls of the righteous are in the hands of God from the Wisdom of Solomon 3. Appropriate for memorial services, funerals, Lent, All Saints, General and Fall Festivals. Two Choirs.
$2.85
Pantheon for Horn, Violin and Piano
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Contemporain
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Elizabeth Raum
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Pantheon for Horn, Violin and
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Horn,Piano,Violin - Level 5 - SKU: A0.1503872 Composed by Elizabeth Raum. 20th Century. 73 pages. Gordon Cherry #1079324. Published by Go...
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Small Ensemble Horn,Piano,Violin - Level 5 - SKU: A0.1503872 Composed by Elizabeth Raum. 20th Century. 73 pages. Gordon Cherry #1079324. Published by Gordon Cherry (A0.1503872). Rome's Pantheon, based on Greek mythical legends was first constructed over 2,000 years ago as a temple of all the gods. In the year 609, it became a Catholic church.Pantheon for Violin, Horn, and Piano by the great Canadian composer Elizabeth Raum is a seven-movement suite of chamber music depicting various of the Greek gods:1. Eos: Goddess of the Dawn2. Moirae: Gods of Fate3. Aphrodite: Goddess of Love and Beauty4. Zeus and Hera5. Artemis (Diana) Goddess of the Moon and the Hunt6. Hermes (Mercury) of the Winged Sandals7. Apollo: God of Sun and LightHere are the comments about Pantheon from composer Elizabeth Raum:Pantheon alludes to a temple, a musical temple in this case, devoted to the gods of ancient Greek mythology, several of whom are represented in this work. The first movement opens with a horn call as Eos, Goddess of the Dawn begins her rosy-fingered awakening, and rising from her couch, ascends the heavens in her horse-drawn chariot. She heralds the approach of her brother, Helius, the sun god, whose superior brightness causes her color to fade. In the second movement, The Fates (Moirae) spin their thread of life and death. The minimalist quality of the music, representing the steady turn of the spindle, becomes more and more agitated as Atropos, the Fate who holds the shears, prepares to cut the thread. The hand stopped horn and the Bartok pizzicato signify the final snip. A moment of contemplation, and they begin again. Some try to persuade Atropos to delay a moment, but she cannot be deterred. Aphrodite, the goddess of love and beauty, is the third movement. She arose from the foam of the sea and all were charmed by her grace, but she could also be coy and flirtatious as she is in this version. Zeus and Hera, the king and queen of the gods, make up the fourth movement. The opening theme suggests the regal stride of Zeus while Hera, furious at his many infidelities, quarrels with him and schemes to thwart his affairs. In the fifth movement, Artemis (Dawn Goddess of the Moon and the Hunt), holds high her silver bow that gleams in the night sky like the new moon. The clouds drift silently past while she runs with her hounds and dances with her nymphs. Hermes (Mercury) of the Winged Sandals, sixth movement, is scored for violin and horn alone. He is a very mischievous and cunning god, and his exceptional swiftness is aided by his winged sandals as he flies to carry out his divine duties. And finally in the seventh movement, Apollo the horn again summons the gods. A hymn to Apollo celebrates the god of eternal youth, beauty, and music. This is a major chamber work for Violin, Horn, and Piano of about 26 minutes in length written for Erika Raum, Phil Myers, and Peter Allen and is appropriate for very advanced artists.
$45.00
Two Scenes from the Lodz Ghetto - Chamber Version: 1. At the Clothing Department; 2. To Get a Ration
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Stanley M Hoffman
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2
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,...
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Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. 240 pages. Stanleymhoffman.com #1015206. Published by stanleymhoffman.com (A0.1435098). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$60.00
What do they matter? (for medium-high voice and harp)
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Contemporain
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Nicole Elyse DiPaolo
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What do they matter?
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Nicole Elyse DiPaolo
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SheetMusicPlus
Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse...
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Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse DiPaolo #3417119. Published by Nicole Elyse DiPaolo (A0.799604). This short song was composed in 2012 during my doctoral coursework at Indiana University's Jacobs School of Music. It was written for tenor, but given its accessible range (Db4 to G5 in the original key), it would work well for lighter voices in many fachs, including light lyric sopranos, baritones, and mezzos. The text, translated from a poem by Takuboku Ishikawa (1886-1912), is gender-neutral. This would be a great introduction to new music for an undergraduate singer with strong aural skills and a still-light voice (since young dramatics might overpower the harp).If you'd like to talk about commissioning a transposed score, please get in touch! Transposition options will be a bit more limited with the harp than with the piano, but I'm sure we could make something work.Poem text (in English translation, as it appears in the score)Setting sun, Drifting clouds, New moon, Evening twilight, What do they matter to me?Composer biography:Nicole Elyse DiPaolo is a versatile composer, teacher, collaborative pianist, and music theorist currently based in Bloomington, Indiana. Currently a PhD candidate in music theory at Indiana University, she recently completed a doctoral minor in composition, having studied with Claude Baker, Don Freund, P. Q. Phan, and David Schneider. She also holds a B.Mus. from the University of Michigan, where she studied composition with Bright Sheng and piano with Louis Nagel. Nicole's music has been heard across the world: along with numerous performances in the Midwest, her commissioned song settings of Muscogee poet laureate Alexander Posey's texts have been performed at Shorter College (GA) and Lincoln University (PA), and the Smithsonian Institution procured copies of two of these (Nature's Blessings and A Vision) to archive at the National Museum of the American Indian. Additionally, Nicole's viola duo Three Episodes was featured at Ball State University's 40th Annual New Music Festival in February 2010. Her early compositions have been garnering interest as well: music students in Kenya performed several of Nicole's such pieces in May 2013 through a pedagogical project spearheaded by IU faculty member Kimberly Carballo. Nicole's music also received its Mexican premiere in October 2013 with a performance of her Divertimento, written for the International String Quartet of Yucatán. In 2014, Nicole published a set of twenty short pedagogical pieces in uncommon keys, entitled Venturing Beyond, available on SheetMusicPlus. Also a sought-after teacher and adjudicator, Nicole frequently judges regional and divisional MTNA composition competitions at all levels, ranging from elementary to college-level Young Artists, and she also served as the composition department chair at Blue Lake Fine Arts Camp in 2014. For more on Nicole DiPaolo and her varied musical pursuits, visit her website at http://ndipaolo.musicaneo.com !
$5.99
Nocturne for Left Hand Alone (Opus 9 Number 2)
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Classique
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Stephen R Dalrymple
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Nocturne for Left Hand Alone
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (Dalrymple Design...
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Instrumental Solo - Level 5 - SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Individual part. 14 pages. Stephen R Dalrymple #722236. Published by Stephen R Dalrymple (A0.1121045). Nocturne for Left Hand Alone (Classical Music for Tablet Series) by Alexander Scrià bin (Opus 9 Number 2) Classical Music for Tablet Series ♫ Alexander Nikolayevich Scriabin [1871 – 1915] was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal. He composed almost exclusively for solo piano and for orchestra. [condensed from Wikipedia October 2022] ♫ I was introduced to this piece by my piano teacher, Jenny Wong, after injuring my right arm and needing to rest it. ♫ Nocturne for Left Hand Alone belongs to the earlier period of his work. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Performed by the Editor. Compositions for left hand alone are valuable in developing and testing phrasing in the left hand. The most beautiful tone quality will be elusive if the left hand is weak in technique or phrasing. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
DUNEDEN for Jazz Trombone Quintet and Rhythm Section
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Frank Niemeyer
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DUNEDEN for Jazz Trombone Quin
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Gordon Cherry
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SheetMusicPlus
Rhythm Section,Small Ensemble Trombone - Level 5 - SKU: A0.792694 Composed by Frank Niemeyer. A Cappella,Blues,Contemporary,Jazz. Score and parts. 56 pa...
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Rhythm Section,Small Ensemble Trombone - Level 5 - SKU: A0.792694 Composed by Frank Niemeyer. A Cappella,Blues,Contemporary,Jazz. Score and parts. 56 pages. Gordon Cherry #5777251. Published by Gordon Cherry (A0.792694). Duneden is a lush and sentimental ballad written in remembrance of the composer’s father. With dramatic dynamic and orchestrational contrasts, the piece incorporates elements from both the jazz and classical realms and features a unique harmonic reinterpretation of John Coltrane’s Giant Steps. The composition begins with a melancholy piano solo which builds to an initial climax as the full ensemble enters. This introduction gives way to a haunting acapella trombone chorale with both intricate harmonies and counterpoint. The mood immediately brightens as the rhythm section enters and the piece then provides brief improvisational space for guitar, trombone, and piano. Following a majestic recapitulation of the melody, the composition concludes with an optimistic reimagining of the opening piano solo. Duneden contributed to the University of Illinois Jazz Trombone Ensemble winning both the National Jazz Trombone Ensemble and the International Trombone Association Kai Winding Competitions in 2017.
$37.50
Les cinq doigts (The Five Fingers)
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Classique
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Igor Stravinsky
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Damiano Drei
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Les cinq doigts
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Gordon Cherry
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SheetMusicPlus
Instrumental Duet B-Flat Trumpet,Instrumental Duet,Trombone - Level 5 - SKU: A0.1129095 Composed by Igor Stravinsky. Arranged by Damiano Drei. 20th Cent...
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Instrumental Duet B-Flat Trumpet,Instrumental Duet,Trombone - Level 5 - SKU: A0.1129095 Composed by Igor Stravinsky. Arranged by Damiano Drei. 20th Century. Score and parts. 6 pages. Gordon Cherry #729621. Published by Gordon Cherry (A0.1129095). Les cinq doigts (The Five Fingers) by Igor Stravinsky is a 1921 composition for piano subtitled 8 very easy melodies on 5 notes. Each movement only uses five notes in the right hand! Damiano Drei has beautifully arranged 6 movements for Trumpet in B-flat and Trombone (bass clef). These very easy melodies are actually brilliant miniatures that are full of genius, sparkle and speak a very direct musical language; one that Stravinsky perfected throughout his great career. These duets will make a perfect addition to a joint recital or concert. This music is appropriate for advanced performers.
$17.50
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
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Classique
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Classique
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implaca
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Nicole Elyse DiPaolo
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SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pa...
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
The Second Coming, poem by William B. Yeats
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Contemporain
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Mary Ann Joyce
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The Second Coming, poem by Wil
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Mary Ann Joyce-Walter
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SheetMusicPlus
Small Ensemble Cello,Piano,Voice - Level 5 - SKU: A0.989222 Composed by Mary Ann Joyce. 20th Century,Concert,Contemporary. Score and parts. 16 pages. Ma...
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Small Ensemble Cello,Piano,Voice - Level 5 - SKU: A0.989222 Composed by Mary Ann Joyce. 20th Century,Concert,Contemporary. Score and parts. 16 pages. Mary Ann Joyce-Walter #6203641. Published by Mary Ann Joyce-Walter (A0.989222). Often performed with An Acre of Grass. The Second Coming is possibly Yeats' most well-known poem (Things fall apart; the center cannot hold. Mere anarchy is loosed on the world.) This highly dramatic work is about 4 minutes. It has ominous and frightening overtones. .
$4.99
"The One"
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Alex Haynes
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"The One"
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Alex Haynes
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SheetMusicPlus
Small Ensemble Piano and Keyboard,Voice - Level 5 - Interactive Download SKU: A0.566360 By Alex Haynes. By Alex Haynes. This edition: Interactive Downloa...
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Small Ensemble Piano and Keyboard,Voice - Level 5 - Interactive Download SKU: A0.566360 By Alex Haynes. By Alex Haynes. This edition: Interactive Download. Jazz,Musical/Show,Pop. Score and parts. 21 pages. Duration 144. Alex Haynes #6OuIEJdLXr1t1GICZXEQ1e. Published by Alex Haynes (A0.566360). Key: E major.A song about finding the right person for you.
$70.00
What The Morning Bell Tells Me for 12-part Trombone Choir
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Classique
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Mahler, Gustav
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Wand, Ohad
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What The Morning Bell Tells Me
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.811040 Composed by Mahler, Gustav. Arranged by Wand, Ohad. 20th Century,Classical,Romantic Period. Score and...
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Brass Ensemble Trombone - Level 5 - SKU: A0.811040 Composed by Mahler, Gustav. Arranged by Wand, Ohad. 20th Century,Classical,Romantic Period. Score and parts. 53 pages. Gordon Cherry #4742417. Published by Gordon Cherry (A0.811040). Mahler composed his 3rd Symphony in the summers of 1893 and 1894 in Steinbach on the Attersee near Salzburg. He spent most of his days those two summers composing in a tiny hut built to his specifications where he could compose in the meadow on the shore of the lake - undisturbed. Movement 5, What The Morning Bell Tells Me includes the voices of women's chorus, children and alto soloist and is a relatively short 4-minute bright rowdy episode, full of laughing voices, bells and angels. Ohad Wand arranged this great music for 12-part Trombone Choir while studying at the Eastman School and it was subsequently beautifully recorded by the Eastman Trombone Choir, directed by Dr. John Marcellus.
$45.00
Unconditioned... for Guitar, Flute, 'cello
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Celebrity Chamber Players
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Unconditioned... for Guitar, F
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Father Ambrose Press
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SheetMusicPlus
Cello,Flute,Guitar - Level 5 - Interactive Download SKU: A0.1275427 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download....
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Cello,Flute,Guitar - Level 5 - Interactive Download SKU: A0.1275427 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download. Classical,Film/TV. 10 pages. Duration 97. Father Ambrose Press #5dzcvZB2jDwJyiyluMlvqF. Published by Father Ambrose Press (A0.1275427). Key: G major.A sketch confection for one of Tom Wright's novel adaptations... for the Harrowgate Festival presentation...
$16.00
Prima Inventiones por Harp, Glock., Xylophone, Marimba
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Celebrity Chamber Players
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Prima Inventiones por Harp, Gl
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Father Ambrose Press
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SheetMusicPlus
Small Ensemble Harp,Percussion,Xylophone - Level 5 - Interactive Download SKU: A0.485376 By Celebrity Chamber Players. By Marshall A. Thomas. This editio...
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Small Ensemble Harp,Percussion,Xylophone - Level 5 - Interactive Download SKU: A0.485376 By Celebrity Chamber Players. By Marshall A. Thomas. This edition: Interactive Download. Children,Classical. Score and parts. Duration 580. Father Ambrose Press #6iSL2lv4VYyiNwRyNVYIAI. Published by Father Ambrose Press (A0.485376). Key: Eb major.Bright, Chamber Music Canon for four pitched percussion instruments, as dedicated to 7 Arts Foundation's Emily Hall and percussionist Elizabeth Hall.
$8.00
Euphonium solo - Divine Right (Based on an original tune by Derick Kane) with full Brass Band accomp
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Derick Kane
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Euphonium solo - Divine Right
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Opus 3 Music
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SheetMusicPlus
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,Per...
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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 5 - SKU: A0.739504 By Derick Kane. By David Catherwood. Christian,Contemporary,Religious. Brass Band. 26 pages. Opus 3 Music #6057751. Published by Opus 3 Music (A0.739504). This popular solo which is already featured on a CD of Derick Kane - 'Forte' is now available for the first time as a digital downloadIt was originally written for Derick Kane and based on one of his original tunes.The download contains the following parts -  Note. This arrangement is in normal British Brass Band format with Trombone, Euphonium, Baritone and Bass parts in treble clef.SoloistSoprano CornetSolo Cornet1st Cornet2nd CornetFlugel HornSolo Horn1st Horn2nd Horn1st Baritone2nd Baritone1st Trombone2nd TromboneBass TromboneEuphoniumEb BassBb BassPercussionPlus a Full score for conductor .
$19.50
Z 100 for xylophone, harp, upright bass, glockenspiel
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Celebrity Chamber Players
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Z 100 for xylophone, harp, upr
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Father Ambrose Press
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SheetMusicPlus
Double Bass,Harmonica,Percussion,Xylophone - Level 5 - Interactive Download SKU: A0.1404673 By Celebrity Chamber Players. By Dr. Marshall Thomas. This ed...
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Double Bass,Harmonica,Percussion,Xylophone - Level 5 - Interactive Download SKU: A0.1404673 By Celebrity Chamber Players. By Dr. Marshall Thomas. This edition: Interactive Download. Classical,Film/TV. 8 pages. Duration 28. Father Ambrose Press #3jNtBv7MmkDTrcRbuNNtuK. Published by Father Ambrose Press (A0.1404673). Key: C major.Z 100 for glockenspiel, harp. upright bass and glockenspiel...
$16.00
Sinfonietta for Percussion Trio
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Contemporain
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measure 41, the transition has
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Dan Heslink
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Sinfonietta for Percussion Tri
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Pharaoh Publications
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SheetMusicPlus
Large Ensemble Bass Drum,Drums,Marimba,Multi-Percussion,Snare Drum,Vibraphone,Xylophone - Level 5 - SKU: A0.935386 Composed by Dan Heslink. Contemporary...
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Large Ensemble Bass Drum,Drums,Marimba,Multi-Percussion,Snare Drum,Vibraphone,Xylophone - Level 5 - SKU: A0.935386 Composed by Dan Heslink. Contemporary. Score and parts. 46 pages. Pharaoh Publications #6058011. Published by Pharaoh Publications (A0.935386). Sinfonietta composed by Dan Heslink Sinfonietta is a trio for vibraphone, marimba and percussion (xylophone, snare drum, and bass drum). Its expression is intended to be non-representational, presenting only an interesting technical construction in a suave formal organization. With the title the composer designates a single movement, with length and seriousness of expression approaching a symphonic movement. Its form approximates an expanded version of the classical sonata-allegro, dividing materials into three large sections. Beginning are the two main phrases of the principal theme, which establish patterns that are idiomatic throughout the movement. The first measure’s quartal harmonies divide into rhythms alternating the two hands, the right-hand posing a melody and the left-hand complementing it with harmony and rhythmic repetition. The phrase at measure 7 is a long-breathed melody for vibes accompanied by undulating chords in the marimba. A transition comprising highly qualitative rhythms (stated first by the marimba in m. 20.) has much identity. By measure 41, the transition has grown into a full secondary theme, one that is developed and repeated often throughout the movement. The exposition closes with a theme beginning in measure 51. It is announced by the vibes as another long-breathed melody unfolding over the active rhythm of the second theme. After a gradual dissipation, the development section starts at measure 92 with a new but related theme, heard first in the vibes. It offers a different key and an expressive melody slowly unfolding over rhythmically active harmonies. The remainder of this middle section explores nuances of the secondary and closing themes, and ultimately leads to the movement’s first climax. It eventually dissipates through a gradual reduction of density and tempo. The Reprise begins vigorously at m. 118 with statements of both the principal theme’s phrases. Then the second theme is transformed by the addition of bass drum strokes, which sets up a codetta. This section comprises a long crescendo on the new theme over a rhythmic tattoo derived from the second theme, and builds to a bold conclusion. Pedaling on the vibes is indicated with a solid bracket below the connected notes, and half pedaling with a dashed bracket. It is imperative that the percussion part be heard but not dominate. The performer is encouraged to experiment with a piccolo snare drum and 28 bass drum. Sinfonietta would serve equally well in a professional, college or advanced high school percussion recital. The composer assigns a difficulty level of medium difficult. Duration is 8:10. The composer, Dan Heslink, can be contacted at dan@dheslink.com.
$9.99
Entrainment (2009)
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Contemporain
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Guy Bunce
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Entrainment
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Enigma Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Eni...
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Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Enigma Music #4984881. Published by Enigma Music (A0.816703). Entrainment (2009)Written for New Noise​Oboe & PercussionEntrainment is the process by which two oscillating systems, which have different periods when they function independently, assume the same period when interacting. The principle of entrainment is universal, appearing in chemistry, pharmacology, biology, medicine, psychology, sociology, astronomy, architecture to name but a few.This piece explores the entrainment of tempo with two initially diverse tempo structures synchronising after a period of four minutes. At the start of the score the oboe begins at 137 bpm and the percussionist at 63 bpm. Over the course of the four minutes the percussionist speeds up whilst the oboist slows down resulting in the tempi synchronising at four minutes. After four minutes the two instruments begin a discourse in unison (rhythmically, melodically, and dynamically): the musical equivalent of total synchronisation. In the final section of the piece the parts diverge with the percussionist slowing down and the oboe part maintaining its speed.As with many of my pieces, the starting point for Entrainment was an external source, in this case the song Time by Pink Floyd. The rhythmic lines throughout Entrainment are based on the rhythm to the bass line of the first part of Time. This can be clearly seen in the opening in which the oboe part employs this rhythm.Harmonically Entrainment consists of a series of key centres whose period is determined by points within the four minutes where either of the two independent parts briefly synchronise at the semiquaver level with the unit of a second. At each of these points (which become more frequent as the piece progresses), the harmonic centre changes. The harmonic centres relate directly to the chord structure of Pink Floyd's Time: at each point where either part synchronises with seconds the harmonic centre in both parts moves one chord through Time's chord sequence. At 2' 19'' the percussion and oboe part synchronise (albeit briefly) for the first time. This event was used to mark the start of more polytonal harmony as both instruments from this point forward begin their own cycles through the Time chords. Throughout the piece, points of synchronisation are highlighted musically.Performance mp3 recordings that contain a dual click track for the first four minutes of the piece can be obtained by contacting guybunce@hotmail.com. The click track is arranged so that the oboe click is on the left channel and the percussion click is on the right. An alternative click track (track 3) is also provided using a different sound (a beep). The performers should wear the headphone in one ear which corresponds to the track of their part. The dual click track can then be played on a single CD player (or mp3 player) with the output going to both sets of headphones using a headphone splitter or other device. Alternatively, files can be put on either two iPods or Mp3 players. The players will then have to synchronize the beginnings of each track.It is possible to play the piece without the use of the click track(s). If this is the case, performers should use the metronome markings and general layout of the score to aid performance. It is advisable that one player (possibly the oboist) sets the tempo and tempo changes, and the other player follows.It was not always possible to represent accurately the relationship between the two parts in the score. Arrows have been added on the score to show points of synchronisation where the score layout differs.
$7.99
All Right Now
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Contemporain
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Rod Stewart
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Jeff Perholtz
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All Right Now
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Fab Forward Entertainment
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SheetMusicPlus
Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 5 - SKU: A0.930115 By Rod Stewart. By Andy Fraser and Paul Rodgers. Arranged by J...
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Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 5 - SKU: A0.930115 By Rod Stewart. By Andy Fraser and Paul Rodgers. Arranged by Jeff Perholtz. Contemporary. Score and parts. 8 pages. Fab Forward Entertainment #5207871. Published by Fab Forward Entertainment (A0.930115). This arrangement of Free's classic All Right Now is great for rock bands that want to perform with a 3 piece horn section. Note that the sax part has been transcribed for either Alto or Tenor. This arrangement should be used to accompany a band performing the song as it was originally recorded. Vamps have been added to allow for extended improvisation during the solo and during the repeat choruses at the ending.
$12.99
I Guess That's Why They Call It The Blues
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Rock
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Elton John
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RpB Music
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I Guess That's Why They Call I
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Copyright
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SheetMusicPlus
Small Ensemble,Strings Bass Voice,Handbell,Handchime,Percussion - Level 5 - SKU: A0.969406 By Elton John. By Bernie Taupin, Davey Johnstone, and Elton J...
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Small Ensemble,Strings Bass Voice,Handbell,Handchime,Percussion - Level 5 - SKU: A0.969406 By Elton John. By Bernie Taupin, Davey Johnstone, and Elton John. Arranged by RpB Music. Pop,Rock. Score and parts. 44 pages. Copyright (c) - RpB Music 2017 #5726979. Published by Copyright (c) - RpB Music 2017 (A0.969406). An arrangement for 3 Octaves of Handchimes / 2 Octaves of Handbells together with voice, bass and percussion accompaniment.
$29.99
Corant - trio- xylophone/acoustic guitar/electric bass guitar
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Jean-Baptiste Loeillet
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Phil Beaman
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Corant - trio- xylophone/acous
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Phil Beaman
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SheetMusicPlus
Acoustic Guitar,Electric Bass Guitar,Xylophone - Level 5 - SKU: A0.1394296 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instruct...
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Acoustic Guitar,Electric Bass Guitar,Xylophone - Level 5 - SKU: A0.1394296 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977773. Published by Phil Beaman (A0.1394296). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite.  It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps.  Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts.  I wrote a highly ornamented continuo for each part when not playing melody.  In true Baroque style I have created a tight interplay between the parts.  Each part also has a rather wide range of about 2 octaves.  Although in a Minor Key, this piece is very bright and uplifting.  It is very accessible and thus a concert crowd pleaser.  Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation.  Most of all, this piece is just Pure Fun!  And who would expect a 17th century style piece on Xylophone, Acoustic Guitar, and Electric Bass Guitar!6 pages score, 2 pages @ partRanges -Xylophone -  bottom space F# to E above staffAcoustic Guitar - middle C to A above staffElecBass  Guitar - low B below staff to high E above staff.
$7.99
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Compositeurs
Mentions légales
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Version intégrale
The Right One
