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Letters from the War
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Vous avez sélectionné:
Letters from the War
Partitions à imprimer
7 partitions trouvées
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Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
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Classique
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Robert Schumann
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Nicole Elyse DiPaolo
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Lorelei from Romanzen und Ball
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Nicole Elyse DiPaolo
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse Di...
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Low Voice,Vocal Solo - Level 3 - SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse DiPaolo #3455867. Published by Nicole Elyse DiPaolo (A0.799605). A low-voice-friendly transposition of this relatively little-known Schumann song about the Lorelei (a mythical mermaid-like creature from the Rhine river). It has a one-octave range from C3-C4 as written, so it’s great for an undergraduate singer still sorting out technique. If you would like to commission a customized transposition in another key, please contact me through my website (linked below).About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
$4.95
Letters from the East for alto and guitar (mp3)
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Contemporain
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David Warin Solomons
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Letters from the East for alto
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - SKU: A0.1059821 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 280. David Warin Solomons #4...
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Alto Voice,Guitar - SKU: A0.1059821 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 280. David Warin Solomons #4792201. Published by David Warin Solomons (A0.1059821). Score: Item # S0.622121 A sequence of settings of poems by Reiner Kunze as translated by Ewald Osers
$2.80
Wha-Do-Ya Mean?
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Contemporain
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Paul Burnell
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Wha-Do-Ya Mean?
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Paul Burnell
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SheetMusicPlus
Small Ensemble - SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.8...
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Small Ensemble - SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.835769). A text piece for one or more speakers with optional rhythmic percussion accompaniment performed ad libitum.Where the text is presented in bold the speakers should speak loudly, giving particular emphasis to text in capital letters. Where the text is presented in non-bold smaller text styles the speakers should speak less loudly or softer. The speakers should vary the pitch of their voice throughout to give emphasis to the structure and to avoid a monotonous tonal delivery. The repeated ‘words’ instinctively suggest a repetitive rhythmic style of delivery - this is fine. The spaces in the text can be interpreted as rests. If there is more than one speaker the performers may either speak in unison throughout or stagger their entries and echo or overlap freely, but without losing the sense of the overall structure of the text. Multiple speakers may also devise co-ordination points within the piece to co-ordinate collective unisons - then drift apart and overlap again. A single speaker could also perform with an echoing sound effect that gives the impression of multiple voices. If performing with percussion, then a pulsed rhythmic style should be used. The percussion may be freely chosen - drum kit, ‘found’ instruments, body percussion, pre-recorded backing track etc. - performing in any rhythmic style, but not detracting from or obscuring the vocal delivery. Programme note: ‘Wha-Do-Ya-Mean?’ was composed in 2008. It was tested as a warm-up exercise for the CoMA London Ensemble, and then developed into a piece, first performed by Paul Burnell at Battersea Arts Centre, London in October 2008 and then included on the 2010 album ‘Sticking with Childish Things’. It has subsequently been performed by CoMA Singers. The inspiration for the piece was derived from an increasingly fractious and reductive argument between two people, where one person was overheard saying What do you mean ‘what do you mean’? This statement illustrated the pointlessness of the argument, and how comically ridiculous and meaningless it had become, and effectively ended it.
$1.99
Brass Sextet - Allegro Spiritoso
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Contemporain
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Mike Lyons
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Brass Sextet - Allegro Spirito
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Lyons Music Services
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767547 Composed by Mike Lyons. Contemporary. Score and parts. 32 pages. Lyons Music Servic...
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767547 Composed by Mike Lyons. Contemporary. Score and parts. 32 pages. Lyons Music Services #5743867. Published by Lyons Music Services (A0.767547). Allegro Spiritoso came about in response to the Covid-19 lockdown. I had been looking for inspiration for a new brass piece and these ideas finally gelled into this single movement work. The opening requires controlled flutter tonguing from the trumpets and glissandos from both the horns and the trombone. This first set of ideas are angry and frustrated, coming in sharp and bitter contrasts between the fluttering of the trumpets and the repetitive semitone on the tuba. Although in F (concert) this section really doesn't have a key centre. Each outburst instead uses a set of pitches ultimately derived from the Gregorian chant of the Dies Irae which appears later in the piece.I imagined how it must feel to be trapped in the house for weeks on end by the lockdown and the fear of catching the virus, combined with the lack of any real leadership from the British government. The interlocking tuba, trombone and horn rhythms (occasionally passed to 2nd. trumpet) drive the music forward and represent, in a way, the mutating virus which underlies all the troubled emotions caused by the lockdown itself and the feelings of isolation and, indeed, abandonment which many people feel.Half way between letters B and C, the trombone plays a kind of distorted motif reminiscent of a Chorale melody which leads us into a section devoted to those who have died (and continue to die) because of the disease. From letter C to the end, the main melodic motifs come from the Dies Irae, part of the Catholic Mass for the Dead (Requiem). Stated first in the Trumpets, the Tuba takes over the melody in augmentation with fragments passed around the ensemble with interjections from the angry motifs of the first section.Finally, the music begins to quieten and work towards the finish. The Dies Irae melody is reduced to a kind of skeleton of itself (all repeated notes removed) which ends the piece over the tuba/horn ostinato. The whole piece is 2 minutes and 57 seconds long and is - though quite by accident - an exact multiple of 19 bars long (114).It's a very dramatic and angry piece and therefore is quite dissonant. Maybe not to everyone's taste, but well worth a listen.
$25.00
Filhos da Revolução dos Cravos / Children of the Carnation Revolution (Orff Inst.)
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Rudesindo Soutelo
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Filhos da Revoluç&atild
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Publisher by Rudesindo Soutelo
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SheetMusicPlus
Orff instruments Orff instruments - Level 3 - SKU: A0.1423143 Composed by Rudesindo Soutelo. Arranged by Orff Instruments (Score + Parts). 21st Century,...
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Orff instruments Orff instruments - Level 3 - SKU: A0.1423143 Composed by Rudesindo Soutelo. Arranged by Orff Instruments (Score + Parts). 21st Century,Children,Classical,Contemporary. 48 pages. Publisher by Rudesindo Soutelo #1004474. Published by Publisher by Rudesindo Soutelo (A0.1423143). Rudesindo SouteloFilhos da Revolução dos Cravos / Children of the Carnation Revolution (2024) for Orff Instruments [ca. 5' 21]Première: 24-IV-2024. Auditório Ramos Pereira, Vila Praia de Âncora (Portugal). Int.: Clube Instrumental da EBS do Vale do Âncora. Prof. Manuela Moura. ISWC: T-324.609.051-3ISMN: 979-0-707704-20-2Info: https://soutelo.euSample pages / Páginas de amostra: https://www.researchgate.net/publication/379996834The songs of intervention that filled the revolutionary spirit are perceived by the generations born afterwards as grandfather’s little stories. The children of a revolution are always calm and carefree, but this complacent detachment contains within itself the germs of new tensions that could become the cause and beginning of a new revolution.The piece was composed for the Instrumental Club of the Vale do Âncora Primary and Secondary School to celebrate the 50th anniversary of the Carnation Revolution. There is a version for piano 4 hands. The generative complex that organises the whole work {6[2, 2, 2], 2, 9[3, 3, 3]} is taken from the number of letters in the words of the title.-oOo-Os cantos de intervenção que preencheram o espírito revolucionário são percebidos, pelas gerações que nasceram depois, como as historinhas do avô. Os filhos duma revolução são sempre calmos e despreocupados, mas essa acomodada distensão encerra em si mesma os germes de novas tensões que podem vir a ser a causa e o princípio duma nova revolução.A obra foi escrita para o Clube Instrumental da Escola Básica e Secundária do Vale do Âncora para assim celebrar o cinquenta aniversário da Revolução dos Cravos. Há uma versão para Piano a 4 mãos. O complexo geratriz que organiza toda a obra {6[2, 2, 2], 2, 9[3, 3, 3]} está tomado do número de letras que contêm as palavras do título.
$10.00
Minuet sur le nom d'Haydn
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Maurice Ravel
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Robert Rainford
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Minuet sur le nom d'Haydn
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Forton Music - Digital
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SheetMusicPlus
4fl. Afl. Bfl. Cafl. Cbfl - Intermediate - SKU: F2.FM400 Composed by Maurice Ravel. Arranged by Robert Rainford. Arranged for Flute Ensemble/Choir - 4 F...
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4fl. Afl. Bfl. Cafl. Cbfl - Intermediate - SKU: F2.FM400 Composed by Maurice Ravel. Arranged by Robert Rainford. Arranged for Flute Ensemble/Choir - 4 Flutes, Alto Flute, Bass Flute, Contr'alto Flute, Contrabass Flute. Score and Parts. 12 pages. Forton Music - Digital #FM400. Published by Forton Music - Digital (F2.FM400). ISBN 9790570482993.Flute Ensemble (4 flutes, alto flute, bass flute, contr'alto flute, contrabass flute). Maurice Ravel wrote this exquisite miniature piece originally for piano in 1909, to mark the centenary of the death of the composer Franz Joseph Haydn. Ravel has used the letters of Haydn's name to give him the initial theme of the piece at the very start (flute 1 of this arrangement). B natural represents H, A and D represent their own letters, the next D represents the letter Y, and the final G represents N. This theme then weaves through the whole piece in various versions, sometimes upside down, and sometimes backwards. Many composers have used this method of using letters to give melodic pitches, from Josquin back in the fifteenth century all the way through to such twentieth century composers as Shostakovich, Messiaen and Elliott Carter. This arrangement uses just about the full range of flutes, including contr'alto and contrabass. Each flute has it's own independant part, and the 'HAYDN' theme is shared between them all.Whilst not technically difficult, it needs sensitive playing to balance the parts, and a strong sense of musical colour to make the most of the piece.
$10.95
Amazing Grace (Brass Trio)(arr. Rita Arendz)
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Musique Sacrée
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Rita Arendz
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Rita Arendz
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Amazing Grace
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Rita Arendz
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SheetMusicPlus
Cornet,Euphonium,Horn - Level 3 - SKU: A0.1426449 By Rita Arendz. By John Newton. Arranged by Rita Arendz. 19th Century,Christian,Praise & Worship,Sacre...
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Cornet,Euphonium,Horn - Level 3 - SKU: A0.1426449 By Rita Arendz. By John Newton. Arranged by Rita Arendz. 19th Century,Christian,Praise & Worship,Sacred,Traditional. 11 pages. Rita Arendz #1007146. Published by Rita Arendz (A0.1426449). AMAZING GRACE by John Newton for Brass TrioSailor-turned-Anglican cleric John Newton was known for his diary notes, articles for pamphlets, letters, hymns, and sermons, his most famous being Amazing Grace!His path from rebellious young man to pious man began on March 21, 1748, when he experienced a violent storm at sea, nearly capsized, and cried out, The Lord have mercy on us! which surprised him. From that date forward, March 21 became a day of remembrance, thanksgiving, fasting, and prayer.After suffering a severe stroke in 1754, he gave up seafaring and moved to London. As a Cleric, his New Year's sermon of 1773 closely resembles the text he wrote in the Onley Hymns, published in 1779.The American folk-like hymn we know as New Britain did not become commonly associated with Newton's text until 1835, when it was published in The Southern Harmony by American William Walker. By the 1970s, the haunting tune was set to bagpipes. Since then, it has become the most played tune for Remembrance services, funerals, Celebrations of Life, and memorials.This setting includes 5 verses, of which any of Verses 2, 3, or 4 can be repeated. Written in the key of Eb Major, it is in a comfortable key, permitting it to be used as an accompaniment to singing and on its own. The instrumental leads and harmonies differ for each verse.Instrumentation is for British Brass Band instruments of Cornet, Eb Tenor Horn, and Bb Euphonium (TC). Horn and Bass Clef Euphonium alternates are included.Duration 4:00 11 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.
$14.99
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Letters from the War
