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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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COR
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CORNET
DEEJAY
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FLUTE TRAVERSI…
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LUTH
MANDOLINE
MARIMBA
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It's Not Over Yet
Non classifié
49
Piano & claviers
Piano seul
51
Piano, Voix et Guitare
18
Piano, Voix
5
Piano Trio: piano, violon, violoncelle
2
1 Piano, 4 mains
1
Piano Facile
1
Orgue
1
Instruments en Do
1
+ 3 instrumentations
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Guitare
7
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3
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2
Basse electrique
2
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2
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1
Banjo
1
+ 2 instrumentations
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17
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9
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3
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2
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2
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2
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1
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1
Voix Baryton, Piano
1
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10
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9
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9
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8
2 Saxophones (duo)
7
Quintette de Saxophone: 5 saxophones
7
Flûte à bec Soprano
4
Flûte, Hautbois, Clarinette, Basson
4
Saxophone Baryton, Piano
3
Clarinette
3
2 Flûtes traversières (duo)
3
Saxophone Alto et Piano
3
Clarinette Basse, Piano
2
Hautbois (partie séparée)
2
Hautbois, Piano (duo)
2
2 Hautbois (duo)
2
Clarinette, Basson (duo)
2
Ensemble de Clarinettes
2
2 Clarinettes (duo)
2
Flûte et Guitare
1
Clarinette, Violoncelle (duo)
1
Flute (partie séparée)
1
Cor anglais, Piano
1
2 Saxophones, Piano
1
Quatuor de Clarinettes: 4 clarinettes
1
Ensemble de saxophones
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone Tenor et Piano
1
Saxophone Soprano et Piano
1
+ 24 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Euphonium, Piano (duo)
2
2 Trombones (duo)
2
Trompette (partie séparée)
2
2 Cors (duo)
2
Cor
2
2 Trompettes (duo)
2
Trompette, Piano
1
Trombone et Piano
1
Trompette
1
Cor anglais, Piano
1
Tuba et Piano
1
2 Tubas (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 10 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
15
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Violon
4
2 Violons (duo)
2
2 Violoncelles (duo)
2
Harpe
2
2 Altos (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Violon et Piano
2
2 Contrebasses (duo)
1
Contre Basse
1
Alto (partie séparée)
1
Violoncelle
1
+ 8 instrumentations
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Orchestre & Percussions
Orchestre
9
Orchestre d'harmonie
6
Orchestre à Cordes
5
Ensemble Jazz
2
Ensemble de cuivres
2
Orchestre de chambre
1
Marimba
1
+ 2 instrumentations
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Autres
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COR
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EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
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LUTH, THEOR…
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PARTITIONS …
PAS DE PART…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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Crtitères actifs :
It's Not Over Yet
Partitions à imprimer
49 partitions trouvées
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26
It Is Not Death to Die - Orchestration
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Robert Myers
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It Is Not Death to Die - Orche
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WheatMyer Music
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SheetMusicPlus
Small Ensemble - SKU: A0.976717 Composed by Robert Myers. Contemporary,Easter,Sacred. Score and parts. 67 pages. WheatMyer Music #4794639. Published by ...
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Small Ensemble - SKU: A0.976717 Composed by Robert Myers. Contemporary,Easter,Sacred. Score and parts. 67 pages. WheatMyer Music #4794639. Published by WheatMyer Music (A0.976717). It Is Not Death to Die is a new setting of French poet Henri Abraham César Malan's Non, ce n'est pas mourir as translated by George Washington Bethune and adapted for this work. Why this text? It first came to my notice shortly after the passing of Billy Graham, who was known to paraphrase D. L. Moody, Someday you will read or hear that Billy Graham is dead. Don’t you believe a word of it. I shall be more alive than I am now. I will just have changed my address. I will have gone into the presence of God.Graham's bold proclamation and Malan's poetry motivated me to focus anew on the resurrection, re-remembering it as the pivotal element of the Christian faith. For if there is no resurrection, Paul says in 1 Cor 15, our faith is useless. But Christ has indeed been raised from the dead! Unfortunately, singing about heaven has, perhaps, been neglected of recent decades. We seem to have focused more on the already to the detriment of the not yet. But it is important to remember that this life is not all there is! Quoting Paul again, the sufferings of this present time are not worth comparing with the glory that is to be revealed to us (Rom 8:18). Yet, if Christ delays, the grim inevitability of our transition into eternity is a certain experience we all face. Malan's poetry so poignantly and eloquently captures this tension that it compelled me to compose a fresh musical setting that attempts to captures the mixture of dread and hope borne out in the acclamation that death is swallowed up in victory! I pray that this setting aids the Church to remember the great hope and promise Christ has granted us: O Death, where is your victory? O Death, where is your sting?_______________________________________________________________________________________________The music opens with a C# diminished chord in a very still and somber texture reflective of grief. The text is introduced with the first of two main motives, a rising 4-note outline of B minor in a triple repetition of It Is Not Death. As each stanza proceeds the music concludes on the second motive, a 5-note descending span of a minor 7th in Bb Lydian. The energy and mood of the music gradually shift over the five stanzas, as the focus moves from this life to the next; the texture thickens, the harmony expands, and the dynamic grows into the music’s pinnacle on reign with You on high! The music closes on a reprise of the opening section, simultaneously mindful of our mortality and our eternity.Available with orchestral (this version) or piano accompaniment, It Is Not Death to Die is a fitting close to the Easter season, or is suitable for Ascension Sunday, a funeral or memorial service, or any time in the church year to remind Christians of the central hope of our faith, eternal life in Christ.Robert MyersS.D.G.Orchestration 2 1 1 1 1 2 2 2 1 1 Timp Glock Perc Mark Tree, Sus Cym, Crash Cym, Snare, Bass Drum, Mid Tom, Triangle, Tam Tam Piano Strings
$75.00
The Monk's Turned Topsy-Turvy
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Lori Archer Sutherland
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The Monk's Turned Topsy-Turvy
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Lori Archer Sutherland
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SheetMusicPlus
Clarinet - SKU: A0.1071177 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. Full Performance. Duration 224. Lori Archer Sutherland #4804...
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Clarinet - SKU: A0.1071177 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. Full Performance. Duration 224. Lori Archer Sutherland #4804263. Published by Lori Archer Sutherland (A0.1071177). The Monk’s Turned Topsy-Turvy is an original fantasy for clarinet choir, based on the old French-Canadian children’s song, Ah! Si mon moine voulait danser! (Danse, mon moine, danse). The title is a play on words: moine means both monk and spinning top in French. The lyrics speak of persuading mon moine to dance by offering various articles of clothing, such as a hood or cap.After a brief, yet bold, introduction, the piece jumps into a straightforward rendition of the tune. From there, the melody is repeated, bringing in other voices and added flourishes. While the tune starts to repeat a third time, it doesn’t get to finish its full statement. It’s interrupted by a run up through the ensemble into a rollicking 7/8 section.With a rhythmic accompaniment underneath, the jaunty melody begins in the third clarinets. The upper instruments take over briefly in 6/8, then the tune returns to 7/8. After a quick breather, the accompaniment introduces an upward sweep motif. This alternates with the accompaniment pattern heard at the beginning of the 7/8 section.The lower voices then take control, driving downward into a different tonality and mood. An undulating accompaniment sets a dreamlike feel, with different voices quoting fragments of the theme. The accompaniment transfers between voices throughout the section, eventually changing back into a 3/4, then a 2/4 feel, resulting in a transition back to the original feel of the piece.The low voices get the melody, with rhythmic accompaniment and racing runs throughout the other sections. The melody goes a bit topsy-turvy before the group comes together in the descending quarter note motif from the beginning of the piece, bringing us to the coda. There’s one final quote of the opening of the main theme from the low voices, leading to a whirlwind in the first and Eb with accented notes and suspensions underneath. The Eb pipes up with one last comment and the group closes out the piece.
$1.99
It Is Well With My Soul (Brass Quintet)
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Musique Sacrée
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Rita Arendz
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Rita Arendz
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It Is Well With My Soul
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Rita Arendz
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SheetMusicPlus
Brass Quintet Baritone Horn TC,Cornet,Euphonium,Tuba - Level 3 - SKU: A0.1465676 By Rita Arendz. By Philip Bliss. Arranged by Rita Arendz. 19th Century,...
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Brass Quintet Baritone Horn TC,Cornet,Euphonium,Tuba - Level 3 - SKU: A0.1465676 By Rita Arendz. By Philip Bliss. Arranged by Rita Arendz. 19th Century,Christian,Praise & Worship,Sacred. 21 pages. Rita Arendz #1044288. Published by Rita Arendz (A0.1465676). For over 150 years, this song, a testament to the enduring power of music, has not only been a significant part of Philip Paul Bliss's repertoire but has also endeared many to Christian Fellowship, creating a shared history and connection among its listeners.Hymnist Horatio Gates Spafford wrote the text after three traumatic events. The first was the passing of his four-year-old son of Scarlet Fever in 1870 - the following year, the Great Chicago Fire (1871), which led to financial ruin. The third was the sinking of the SS Ville du Havre (1873), on which his four daughters lost their lives; his wife survived.This setting portrays life's unexpected challenges and joys. Its peaceful yet sombre tonality is maintained while flowing between the predominantly Major key and a Dominant 7th on its Minor 6th.Written in the key of Bb Major, it is in a comfortable key, and instrumental leads and harmonies differ for each verse and chorus.Instrumentation is for British Brass Band instruments of Cornet, Eb Tenor Horn, Baritone, and Eb Bass. F Horn and Bass Clef parts for Baritone and Eb Bass are included.Duration 3:40 mins 21 pagesSound clip generated by NoteperformerMore arrangements by Rita Arendz:https://www.sheetmusicdirect.com/Search.aspx?query=rita%20arendzhttps://www.sheetmusicplus.com/en/explore?q=rita+arendz&lang=default.
$22.99
La Primavera (The Spring) by Vivaldi - Double Bass Duet and Piano with Chord Notations
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Classique
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Antonio Vivaldi
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Glauco Fernandes
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La Primavera
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Glauco Fernandes
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SheetMusicPlus
Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 2 - SKU: A0.1408390 Composed by Antonio Vivaldi. Arranged by Glauco Fernandes. Baroq...
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Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 2 - SKU: A0.1408390 Composed by Antonio Vivaldi. Arranged by Glauco Fernandes. Baroque,Chamber,Classical,Instructional,Wedding. 6 pages. Glauco Fernandes #990973. Published by Glauco Fernandes (A0.1408390). Discover the vivacity of the Baroque era with our exclusive and simplified arrangement of Antonio Vivaldi's La Primavera (The Spring) from The Four Seasons, specifically crafted for a duet. This arrangement is designed to bring to life the joyful and energetic spirit of spring in an accessible manner, making it the perfect choice for duet musicians of various skill levels, from developing students to professionals looking for a charming yet simpler piece to complement their repertoires.For educators and music teachers, this simplified sheet music for duet offers a wonderful way to introduce students to Vivaldi's vibrant style and the music of the Baroque period. It provides a less intimidating approach to exploring classical works, allowing students to enhance their musical techniques and confidence while actively engaging in duet performance.Professional musicians will find this arrangement of La Primavera a valuable and practical addition to their duet repertoire, particularly suitable for events requiring shorter pieces or for moments seeking to touch the audience's hearts with the unmistakable beauty of Vivaldi, without the complexity of his complete works.This arrangement ensures that the essence and brilliance of Vivaldi's Spring are preserved while making the piece more accessible for duet performance, ensuring a rewarding musical experience for both performers and listeners. Explore the renewal and vitality of Spring through this charming and simplified arrangement tailored for duet.Tags: simplified sheet music, duet, Antonio Vivaldi, The Four Seasons, La Primavera, The Spring, Baroque music, music education, musical arrangement, live performance, music learning, ensemble performance, piano.
$7.99
Tell Her About It
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Billy Joel
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Hollywood Charts
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Tell Her About It
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Hollywood Charts
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SheetMusicPlus
Rhythm Section Voice - Level 2 - SKU: A0.1317265 By Billy Joel. By Billy Joel. Arranged by Hollywood Charts. Pop,R & B,Soul. 24 pages. Hollywood Charts ...
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Rhythm Section Voice - Level 2 - SKU: A0.1317265 By Billy Joel. By Billy Joel. Arranged by Hollywood Charts. Pop,R & B,Soul. 24 pages. Hollywood Charts #905925. Published by Hollywood Charts (A0.1317265). This vocal arrangement is scored for rhythm section and 3 horns (Trumpet, Tenor Sax, Trombone) with a bonus Alto Sax part in case your saxophonist prefers Alto instead of Tenor. The rhythm chart is a single 'Master Rhythm' part with the important figures for piano, bass, and drums. This ensures your entire band will be on the same page, literally!Energize your ensemble with the classic pop groove of Billy Joel's Tell Her About It, now transcribed for rhythm section and horns. This sheet music brings to life the vibrant rhythm and brassy brightness that propelled this 1980s hit to the top of the charts.Our arrangement carefully captures the nuance of Billy Joel’s iconic sound, blending soulful pop with a hint of jazz. The master rhythm chart is meticulously notated, providing the solid, groovy foundation characteristic of Joel's style. Additionally, this transcription shines a spotlight on the horns, replicating the original song’s lively sax and trumpet lines that add a layer of richness and excitement.Perfect for jazz ensembles, cover bands, and school groups, this transcription offers a fantastic opportunity to delve into the intricacies of Billy Joel's musical genius. The arrangement is accessible yet challenging, ensuring a fulfilling and enjoyable performance experience for players of all levels.
$24.99
Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis (
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David Catherwood
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Jack's Journey - A new Musical
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Opus 3 Music
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 3 - SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583...
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Choral Piano,Vocal,Voice - Level 3 - SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583. Published by Opus 3 Music (A0.739502). 'Jack's Journey'(A new Musical by Adeline Dinsmore and David Catherwood)Piano and vocal score (contains 7 songs plus overture and incidental music) plus Script - $9.50Duration c.40 minutesIdeal for schools, youth groups or adult dramatic/musical companies.Requirements - Narrator, Chorus, (unison/2part) Soloists, Actors, Piano accompanimentOptional - Dancers, orchestral parts for Flute, Clarinet. Trumpet, Horn, Strings, Percussion and Bass/guitar About the Musical A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$9.50
Emperor's Fanfare
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Padre Antonio Soler
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Emperor's Fanfare
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Fred Bock Music Company
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SheetMusicPlus
Handbell choir (3-7 octaves) - Level 3 SKU: JF.MFBFH1001 Composed by Padre Antonio Soler. Arranged by Michael Kastner / Kevin McChesney. Published by Fre...
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Handbell choir (3-7 octaves) - Level 3 SKU: JF.MFBFH1001 Composed by Padre Antonio Soler. Arranged by Michael Kastner / Kevin McChesney. Published by Fred Bock Music Company (JF.MFBFH1001). UPC: 747187650108.Rarely does a handbell score cover 3, 4, 5, 6, or 7 octaves, but this setting of Antonio Soler's classic work does just that (although much of it stays within the 3 - 4 octave range). A majestic yet sometimes almost pompous piece, this one will be as much fun to ring as it will be to work out the 16th note patterns.
$3.50
Tristan und Isolde
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Classique
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Richard Wagner
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Tristan und Isolde
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Schott Music - Digital
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SheetMusicPlus
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl...
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3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99
Mendelssohn: Wedding March for Oboe d'Amore & Piano
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Classique
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549891 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic P...
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - SKU: A0.549891 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and individual part. 23 pages. Jmsgu3 #3602937. Published by jmsgu3 (A0.549891). Score: 12 pages, piano part: 6 pages, oboe d'amore part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself.Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's vir.
$24.95
Mendelssohn: Wedding March for Viola & Piano
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Classique
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for
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jmsgu3
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SheetMusicPlus
Instrumental Duet,Viola - Level 3 - SKU: A0.549885 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standar...
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Instrumental Duet,Viola - Level 3 - SKU: A0.549885 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. 23 pages. Jmsgu3 #3602675. Published by jmsgu3 (A0.549885). Score: 12 pages, piano part: 6 pages, viola part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz.
$32.95
The Sundials
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Contemporain
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Matthew Scott Phillips
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #580083...
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Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
Everlong
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Foo Fighters
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Brian Streckfus
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Everlong
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian St...
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Guitar - Level 2 - SKU: A0.1486675 By Foo Fighters. By David Grohl. Arranged by Brian Streckfus. Contemporary,Pop,Rock. Chords/Lyrics. 2 pages. Brian Streckfus #1063740. Published by Brian Streckfus (A0.1486675). Key: B minorPages: 2The aim of this version was not historical accuracy. The aim was to create a great solo unplugged coffee-house version with no page turns, though it could still be really useful for any situation. The melody is left intact, some liberties with the harmonies were taken when there is singing. I'm very proud and happy with how it turned out, sometimes you get lucky and the sections fall perfectly into place (which is suprising since there are some odd 3 measure phrases in here). Features:1. Beginner friendly. The chords are so accurate to what the sheet music is doing, that you don't even really need to read sheet music to play this!2. Harmonies that take difficulty, style, voice leading, and melody into consideration3. Condensed lead sheet version that fits on 2 pages to avoid a page turn; yet it is packed with details and naunces.4. Beautifully engraved sections that visually make sense on the page.Tips:1. Measures 8-16 I named that chords as if both guitars were taken into consideration. I'm guilty of sometimes saying, Oh it's just a rock song with power chords, but then you look into the details, and the chords are actually quite jazzy.2. Maybe She sang needs a fermata?3. If a song is in B minor and never changes key, fret 1 will never happens! Be in position 2 for this song! That's why I didn't put fingerings in, they would have been as helpful as confusing.4. Maybe it's a given, but I recommend forcing melody notes on to the chord in one way or another. Sometimes I go on spurts of notating many complex chords to account for the melody, other times I just show one chord per measure but kind of assume that you'll make the guitar work more fancy with the melody notes. Maybe this is overthinking the arrangement, but there is great voicings I'm doing that I want to get across, but sometimes I won't do it because the score will get too busy looking. Just food for thought, depends on your agenda I suppose.
$2.99
Lyddimy
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Thomas Breadon Jr
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Lyddimy
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Imagine Music - Digital
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SheetMusicPlus
Bass clarinet & bassoon - SKU: IZ.IMS1610 Composed by Thomas Breadon Jr. Score and Parts. 18 pages. Imagine Music - Digital #IMS1610. Published by Imagi...
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Bass clarinet & bassoon - SKU: IZ.IMS1610 Composed by Thomas Breadon Jr. Score and Parts. 18 pages. Imagine Music - Digital #IMS1610. Published by Imagine Music - Digital (IZ.IMS1610). 9 x 12 in inches.Though my training as a musician and a composer is firmly rooted in western art music, more specifically within anAmerican collegiate environment, a lot of my inspiration and musical influences come from jazz. In Lyddimy,compositional influence came from one of my favorite jazz composers and theorists, George Russell. The LydianDiminished Scale , in which all but one note of the pitch material is derived, comes directly out of Russell's theory,The Lydian Chromatic Concept of Tonal Organization . Another inspiration for this piece are my close friends hereat Arizona State University, Dr. Audrey Miller (of whom this piece was written for) and Dr. Kate Mackenzie. It wasin spending time with them that the subject matter and the inspiration to write this piece of music culminated.It is, however, the theme of the composition that ties the entire piece together. Though it is literally woven into thefabric of this piece, and relatively easy to point out, in listening, and even in analyzing the piece, it would bedifficult for one to discover the theme, much less find all of the nuances that unfold. It's pretty easy to see the wordLyddimy is partially derived from the name of the scale being used: the LYD ian DIM inished scale. However,you might also notice that Lyddimy bares resemblance to another word from the english language of a sexuallyexplicit nature. Lyddimy is designed first and foremost as a mirror image of cultures that are comprised of verysexual human beings, yet have obscured the idea of sex or even the mentioning of the word (through miseducationand/or the misuse of religion) in a manner that is confusing and misleading to the community at large.
$10.00
Superwoman MP3 Accompaniment track
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Deborah Johnson
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Barnes &
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Superwoman MP3 Accompaniment t
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Deborah Johnson
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SheetMusicPlus
Bass Guitar,Drum Set,Keyboard - Level 3 - SKU: A0.1404285 By Deborah Johnson. By Deborah Johnson. Broadway,Comedy,Contemporary,Jazz,Musical/Show,Singer/...
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Bass Guitar,Drum Set,Keyboard - Level 3 - SKU: A0.1404285 By Deborah Johnson. By Deborah Johnson. Broadway,Comedy,Contemporary,Jazz,Musical/Show,Singer/Songwriter. Accompaniment. Duration 128. Deborah Johnson #987388. Published by Deborah Johnson (A0.1404285). Deborah Johnson's Superwoman is a vibrant tribute to the incredible strength of women worldwide. This is the MP3 accompaniment track without the lead vocal--it includes the backgrounds. This upbeat and energetic song celebrates the everyday feats of ordinary yet extraordinary women. Drawing from her own experiences, Deborah navigates the complexities of managing a household, navigating career changes, raising three children, maintaining a marriage, and all the challenges life throws her way. Through Superwoman, Deborah captures the resilience and determination required to juggle multiple roles and responsibilities, resonating with listeners who understand the struggle of holding everything together. Purchase the single MP3 here: https://amzn.to/3PvNCHK The piano/vocal sheet music with vocal lead sheet is also available for download Note from Deborah: Are you embracing your inner superheroine? I get it—navigating life's hurdles while donning our invisible capes can feel like a whirlwind circus act. To claim the title of Superwoman, you've got to juggle the whole shebang: home life, career acrobatics, kid wrangling, spouse wrangling (or partner wrangling, let's keep it inclusive), and just the general chaos of existence. It's the kind of balancing act that'd make a Cirque du Soleil performer jealous! Speaking from the trenches myself, I've done my fair share of plate-spinning: managing a household, enduring the rollercoaster ride of a career (complete with loop-de-loops), wrangling three sons who seem to have synchronized their mischief, keeping a marriage afloat through the stormy seas and dealing with the curveballs life tosses our way. And let's not forget society's laundry list of expectations: staying fit, maintaining a Pinterest-worthy home, being the rock for our loved ones... and that's not even touching on the culinary escapades! And let's raise a toast to the single moms out there, pulling off the ultimate juggling act—balancing multiple jobs, raising the next generation of superheroes, and keeping the household shipshape. They're the Superwomen on turbocharged overdrive! It's no wonder that the song Superwoman resonates with us—it's our anthem, our battle cry, and our reminder that we're all superheroes in our own right! Written, arranged and performed by Deborah Johnson. DEBORAH JOHNSON, is a National Recording Artist, Composer, Speaker and published Author. She has recorded dozens of albums, written 3 original musicals and has appeared on many stages around the country and world. She also appeared with the headliner piano/vocal duo Double Grande. Her internationally released bookshave garnered great reviews (on Amazon & Barnes & Noble) Deborah’s songs have also been up for multiple Grammy Awards. Music and Lyrics by Deborah Johnson. Basic production and piano tracking by Deborah. Backgrounds by Deborah and David Johnson. Additional production, guitars and bass by Michael Ferenci. Recorded at Ferenci Studios, Silverlake, CA. https://DJWorksMusic.com For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com, https://goalsforyourlife.com/ or https://DeborahJohnsonSpeaker.com YouTube Link https://youtu.be/YUOvivxjlsw?si=AGohZrZl1ErdkQTD
$8.99
Presto (Mozart K522 - theme from The Horse Of The Year Show) - 3 guitars/large ensemble
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Classique
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Wolfgang Amadeus Mozart
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Derek Hasted
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Presto
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.1074681 Composed by Wolfgang Amadeus Mozart. Arranged by Derek Hasted. Classical,Film/TV. Score and parts. 18...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.1074681 Composed by Wolfgang Amadeus Mozart. Arranged by Derek Hasted. Classical,Film/TV. Score and parts. 18 pages. Derek Hasted #678951. Published by Derek Hasted (A0.1074681). PRESTO (Mozart K522) The Horse Of The Year Show TV Theme - 3 GUITARS OR LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This is part of the fourth movement - Presto - of Mozart’s K522 for string quartet and two horns. It’s commonly known as “A Musical Jokeâ€, though the correct translation is “Some Musical Funâ€. In the UK, a sanitised version with added drumbeat and electric bass was used as the TV theme music to “The Horse Of The Year Showâ€. My arrangement has just some of the thematic material of the original, yet still fills a music stand. An optional repeat extends the piece to a little over 3 minutes. Mozart intended the piece as a showcase of how NOT to write, and the Presto contains some extraordinary and modern-sounding key changes as well as some rather odd counterpoint. The original Presto finishes with an unexpected burst into 4 different keys, all sounding together after one of the longest build-ups to an ending you’ll ever hear. My setting for 3 guitars ends in 3 of the 4 keys that Mozart burst into. Most audiences would probably associate this with a catastrophic disaster, so I’ve included a second ending that stays in key for a nice happy ending! Rather than the isolated quavers (eighth notes) and rests, I’ve used staccato marks to make a version that is much easier to read yet has exactly the same articulation. I hope you enjoy this piece!
$2.99
I'll Walk Alone
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Dinah Shore
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F
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I'll Walk Alone
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Sweetwater Brass Press
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SheetMusicPlus
Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th C...
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Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th Century,Jazz,Pop,Standards. 20 pages. Sweetwater Brass Press #936564. Published by Sweetwater Brass Press (A0.1351942). “I’ll Walk Alone†is a World War II era ballad whose poignant melody sounds as though it could have been written just yesterday.  First introduced in the 1944 movie Follow the Boys, it was hugely popular and has since been recorded by numerous artists.   Universal Pictures produced Follow the Boys in an effort to help boost morale for both overseas military and folks on the home front.  Despite being filled with stars and songs, critics tended to dismiss it as hokey and trite.  The exception was a scene in which Dinah Shore sang “I’ll Walk Alone.† Nominated for the Academy Award for Best Original Song, Ms. Shore’s follow-up Victor recording spent 20 weeks on the top ten Best Selling Records chart.  The song was used yet again in 1952 for another motion picture, With a Song in My Heart, the Jane Froman biographical film, and the melody eventually developed as a standard, particularly in the world of jazz.   Sammy Cahn’s lyrics for this song express the feelings and the promise of a woman who has been separated from her lover by the war.  She pledges that she will be true, that she will wait for him, and that “'till you're walking beside me, I'll walk alone.† Jule Styne’s melody is both plaintiff and simple. an eight-measure phrase, a repeat of the phrase, an eight-measure second phrase, then another repeat of the first phrase.   For this arrangement, the suggested tempo is a relatively slow, blues-like 72 bpm.  It features a tenor saxophone as lead and solo instrument accompanied by brass quintet.  A four-measure introduction opens the piece with Trumpet 1 playing melody and the other four brass providing background.  Following the intro, Tenor Sax plays its first three notes alone; the other instruments begin their accompaniment on measure 6.  Trumpet 1 is tacit during measures 6-11 but begins adding counterpoint in measure 12.     In performing this arrangement, brass instruments should ensure that, when the Sax plays, their volume as a group is under (i.e., softer than) the melody.  The exception begins at measure 36, when a crescendo leads to the quintet playing fortissimo.  During this section, the Tenor Sax plays a couple of responses.  At measures 43 a decrescendo lowers the brass volume back to its original soft accompaniment level.  The piece ends with brass recapping the introduction and Sax providing a final statement.   This piece, completed in 2023, consists of 57 measures, a little over three minutes in length.  Written in the key of G major, Tuba’s lowest note is a G below the staff.  Other than that, all notes are well within the normal playing range of each instrument.   The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99
Prelude In E Minor, Op. 28, No. 4
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Frederic Chopin
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Jhavilah
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Prelude In E Minor, Op. 28, No
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Jhavilah
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 1 - SKU: A0.1436125 Composed by Frederic Chopin. Arranged by Jhavilah. 19th Century,Class...
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 1 - SKU: A0.1436125 Composed by Frederic Chopin. Arranged by Jhavilah. 19th Century,Classical,Lent,Romantic Period,Soul. 4 pages. Jhavilah #1016277. Published by Jhavilah (A0.1436125). Frédéric Chopin's Prelude Op. 28, No. 4, is a masterpiece of brevity and emotional depth. Often referred to as the Suffocation Prelude, it is a short yet intensely expressive piece, reflecting Chopin's unparalleled ability to convey profound emotions in a compact form.Composed in 1839, this prelude is written in E minor and features a slow, mournful melody over a repetitive left-hand accompaniment. The piece begins with a simple, descending chromatic pattern in the right hand, which is then echoed by the left hand. This pattern repeats throughout the piece, creating a sense of relentless, suffocating despair.Despite its brevity, Chopin's Prelude Op. 28, No. 4, is rich in emotion and musical depth. The melancholic melody, combined with the hypnotic accompaniment, creates a hauntingly beautiful piece that leaves a lasting impression on the listener. It is a testament to Chopin's genius that he was able to evoke such intense emotion in just over two minutes of music.The piece is often interpreted as a reflection of Chopin's own struggles with illness and mortality, as well as his experiences of exile from his native Poland. Whatever the inspiration behind it, Prelude Op. 28, No. 4, remains one of Chopin's most beloved and enduring works, continuing to captivate and move audiences more than 180 years after it was written.
$5.99
National Anthem of Ukraine - Trombone Quintet Choir - Adv. Intermediate Level
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Patriotique
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Pavilo Chubynsky, Mykhailo Ver
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Dennis Ruello
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National Anthem of Ukraine - T
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Chicory Music
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SheetMusicPlus
Brass Band Trombone - Level 4 - SKU: A0.1188967 By Pavilo Chubynsky, Mykhailo Verbytsky. By Pavilo Chubynsky, Mykhailo Verbytsky. Arranged by Dennis Rue...
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Brass Band Trombone - Level 4 - SKU: A0.1188967 By Pavilo Chubynsky, Mykhailo Verbytsky. By Pavilo Chubynsky, Mykhailo Verbytsky. Arranged by Dennis Ruello. 19th Century,Chamber,Historic,Patriotic. Score and Parts. 9 pages. Chicory Music #788580. Published by Chicory Music (A0.1188967). In 1992 the Ukrainian Parliament chose as the national anthem music composed in 1863 by Mykhailo Verbytsky, a western Ukrainian composer and Catholic priest. Verbytsky originally wrote the score as a solo song and later for orchestra to accompany a patriotic poem written in 1862 by Pavlo Chubynsky, a prominent ethnographer in the Kyiv region. In his poem Shche Ne Vmerla Ukrayina (which means Ukraine is not yet dead), Chubynsky expressed the mixture of hope and desperation felt by Ukrainians over their continuous struggle to rule their own land. Widely sung around the country as the Hymn to Ukraine, both the melody and lyrics were similar to those of Polish and Serbian anthems. In 1917 it became the anthem of the short-lived Ukrainian National Republic, but during the Soviet era it was replaced. Over time there were various changes and additions to Chubynsky's original words, resulting in several slightly differing versions of the Hymn to Ukraine. Following independence in 1991, many Ukrainians were disatisfied with the pessimistic tone, so the Ukrainian government made the Verbytsky score official but hesitated to approve the Chubynsky's lyrics. A comission sponsored contests for replacement lyrics, but none were decided on. Agreement finally came in 2003, when the Parliament passed and the President signed an act recognizing a slight change to the version of Chubynsky's lyrics that were usually sung. Only the first stanza and the refrain (which is sung twice) were approved in President Kuchma's official proclamation.This arrangement for Trombone Quintet, / Choir in the brass friendly key of d minor, is easily accessible to those students who play at the Adv. Intermediate Level. Performance Time: 1 minute 35 seconds
$9.99
Kommos (Lamentation) / "When the World Moved On" - Timpani
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo ...
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Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078699. Published by Benjamin Sajo (A0.1018954). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
Mendelssohn: Song Without Words Op. 109 for Bass Flute & Piano
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Felix Mendelssohn
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James M
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Mendelssohn: Song Without Word
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549494 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. In...
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Bass Flute,Instrumental Solo,Piano - Level 3 - SKU: A0.549494 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 20 pages. Jmsgu3 #3500875. Published by jmsgu3 (A0.549494). BASS FLUTE & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
Uptown Girl
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Billy Joel
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Derek Hasted
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Uptown Girl
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 2 - SKU: A0.797770 By Billy Joel. By Billy Joel. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 24 pages. D...
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Guitar Ensemble Guitar - Level 2 - SKU: A0.797770 By Billy Joel. By Billy Joel. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 24 pages. Derek Hasted #5299683. Published by Derek Hasted (A0.797770). UPTOWN GIRL - THREE or FOUR GUITARS or LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This very playable but satisfying arrangement suits 3 guitars, 4 guitars or (even better!) a large ensemble.This is a piece that's full of hidden gems...For an audience it's absolutely full of uplifting key changes - not just one on the last chorus! This arrangement starts in A, but visits the keys of F, C, D and E more than once, and each one seems to lift the mood yet higher. And then there's a gentle fade away to a quiet finish.For an adult trio, it's an easy rhythmic crowd-pleaser that any audience will like. Each line has its own contribution to the overall big wall of toe-tapping sound.For a guitar teacher, it's a great exercise in rhythm and a chance to show students the half-diminished chord (the m7b5) and the poignancy of the flattened ninth. And indeed to remind them that there's more to good music than just three chords!For a school teacher, this trio comes with a potential life-saver - there's a second version of the Guitar 2 part that is split into two separate parts - 2a and 2b. These parts are ideal for a mixed ability ensemble where one or two players are new starters with guitar (yes, the Guitar 2b part really is that easy!) So play as a trio or a quartet - the choice is yours, and rest assured that an ensemble of widely differing abilities will be able to tackle it to great effect.I hope you enjoy this piece as much as my adult Guitar Workshop ensemble does!
$4.99
Love Has Come! (key of E)
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Musique Sacrée
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Noël
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17th c
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Love Has Come!
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Leatherman Music Services
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.829380 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible...
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Small Ensemble - Level 3 - SKU: A0.829380 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible and Lyndell Leatherman. Christian,Christmas,Sacred. Score and parts. 20 pages. Leatherman Music Services #5955335. Published by Leatherman Music Services (A0.829380). The charming tune usually associated with Bring a Torch, Isabella is the setting for this new Christmas hymn text, resulting in an attractive addition to the Advent/Christmas canon. Because the tune is known to most people, it will be easy to introduce it into worship services this December. As an additional service Ken Bible has provided a script which can be used to provide context and lead in to the hymn.The companion orchestration allows for the participation of supplemental instruments. Even if you only have one–or a few–of the instruments available, they will enhance the presentation of the hymn. A separate edition in the key of F is available on Sheet Music Plus; it can be used instead of–or in addition to–this edition (think modulation into the last stanza).Note: the purchase price allows you to duplicate as many copies as needed for your singers and instrumentalists. Please include it in your CCLI tally if it's your turn to report; the CCLI number is included at the bottom of the hymn arrangement.It has been my lifelong endeavor to provide fresh, yet accessible music for the churches and schools with whom I have been associated. Because of the slowdown caused by Covid-19, I finally have the time to start posting 45 years' worth of custom arrangements on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 > or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear more published works. Thanks for your interest! God bless!Lyndell Leatherman, ASCAP
$14.99
Love Has Come! (key of F)
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Musique Sacrée
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Noël
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17th c
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Love Has Come!
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Leatherman Music Services
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.829382 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible...
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Small Ensemble - Level 3 - SKU: A0.829382 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible and Lyndell Leatherman. Christian,Christmas,Sacred. Score and parts. 20 pages. Leatherman Music Services #5955337. Published by Leatherman Music Services (A0.829382). The charming tune usually associated with Bring a Torch, Isabella is the setting for this new Christmas hymn text, resulting in an attractive addition to the Advent/Christmas canon. Because the tune is known to most people, it will be easy to introduce it into worship services this December. As an additional service Ken Bible has provided a script which can be used to provide context and lead in to the hymn.The companion orchestration allows for the participation of supplemental instruments. Even if you only have one–or a few–of the instruments available, they will enhance the presentation of the hymn. A separate edition in the key of E is available on Sheet Music Plus; it can be used instead of–or in addition to–this edition (think modulation into the last stanza).Note: the purchase price allows you to duplicate as many copies as needed for your singers and instrumentalists. If used for congregational singing, please include it in your CCLI tally if it's your turn to report; the CCLI number is included at the bottom of the hymn arrangement.It has been my lifelong endeavor to provide fresh, yet accessible music for the churches and schools with whom I have been associated. Because of the slowdown caused by Covid-19, I finally have the time to start posting 45 years' worth of custom arrangements on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 > or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear more published works. Thanks for your interest! God bless!Lyndell Leatherman, ASCAP
$19.99
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It's Not Over Yet