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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
Mark Roach
Sheetmusicplus
Non classifié
43
Piano & claviers
Orgue
294
Piano Facile
73
Piano seul
31
Piano, Voix
8
Instruments en Do
4
2 Pianos, 4 mains
1
Piano, Voix et Guitare
1
Clavier
1
+ 3 instrumentations
Retracter
Guitares
Guitare
5
Guitare notes et tablatures
2
Banjo
1
Ukulele Baryton
1
Voix
Chorale SATB
20
Chorale 3 parties
5
Chorale 2 parties
2
Chorale SSAA
1
Chorale TTBB
1
Voix seule
1
+ 1 instrumentations
Retracter
Vents
2 Saxophones (duo)
19
2 Clarinettes (duo)
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Quatuor de Saxophones: 4 saxophones
5
Saxophone (partie séparée)
5
Flûte traversière
4
Saxophone Alto et Piano
4
2 Hautbois (duo)
4
Hautbois (partie séparée)
4
Quintette de Saxophone: 5 saxophones
4
2 Flûtes traversières (duo)
4
Saxophone Alto
4
Clarinette
4
Flûte, Hautbois, Clarinette, Basson
4
Flûte traversière et Piano
3
Saxophone Baryton, Piano
2
Saxophone Tenor
2
Clarinette et Piano
2
Hautbois, Piano (duo)
2
Flûte à bec Soprano
2
Quintette de Flûte : 5 flûtes
1
Flûte à bec Soprano, Piano
1
Saxophone Soprano et Piano
1
Quatuor de Clarinettes: 4 clarinettes
1
Saxophone Tenor et Piano
1
Ensemble de Clarinettes
1
Quatuor de Flûtes : 4 flûtes
1
Ensemble de Flûtes
1
+ 23 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
2 Cors (duo)
5
Cor
5
Tuba et Piano
4
2 Trombones (duo)
4
2 Trompettes (duo)
4
Trombone
4
Trompette
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Tuba
3
Trompette, Piano
2
Trombone et Piano
2
Cor et Piano
2
2 Tubas (duo)
2
Euphonium, Piano (duo)
1
Trombone (partie séparée)
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 13 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
9
2 Violons (duo)
5
2 Altos (duo)
5
2 Violoncelles (duo)
5
Alto seul
4
Violon
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Violoncelle
4
Violon et Piano
3
Violoncelle, Piano
2
2 Contrebasses (duo)
2
Contre Basse
2
Alto, Piano
2
Contrebasse, Piano (duo)
2
2 Harpes (duo)
1
+ 10 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
7
Orchestre d'harmonie
4
Cloches
3
Ensemble de Percussions
2
Orchestre de chambre
2
Orchestre
2
Ensemble Jazz
1
+ 2 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
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BASSE
BASSON
BATTERIE
BOUZOUKI
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CHANT - CHO…
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
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← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Mark Roach
SheetMusicPlus
Partitions à imprimer
43 partitions trouvées
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1
26
Trumpet Voluntary (Prince of Denmark's March) with backing track - Western Classical Music Classroom
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Jeremiah Clarke
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Austin Ralphson
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Trumpet Voluntary
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Austin Ralphson
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SheetMusicPlus
Large Ensemble Bass Guitar,Bassoon,Cello,Double Bass,Flute,Marimba,Piano,Recorder,Tuba,Ukulele,Vibraphone,Violin,Xylophone - Level 2 - SKU: A0.563844 Co...
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Large Ensemble Bass Guitar,Bassoon,Cello,Double Bass,Flute,Marimba,Piano,Recorder,Tuba,Ukulele,Vibraphone,Violin,Xylophone - Level 2 - SKU: A0.563844 Composed by Jeremiah Clarke. Arranged by Austin Ralphson. Baroque,Instructional,Standards. Score and parts. 23 pages. Austin Ralphson #5215825. Published by Austin Ralphson (A0.563844). As an experienced classroom music teacher, two of the main difficulties I have faced have been:* having the time to arrange music for standard classroom instruments such as keyboards, ukuleles, guitars, tuned percussion etc.* finding suitable arrangements of Western Classical pieces to contribute to a broad and balanced curriculumThe Classroom Ensemble Series meets both of these problems head on, providing approachable yet challenging arrangements which are tailor-made for a large classroom ensemble. Each piece includes a score and parts as follows:Melody (treble clef)Melody plus note names (treble clef)Melody (ukulele tab)Melody (guitar tab)Bass part (bass clef)Bass part plus note names (bass clef)Bass part (bass guitar tab)Easy piano part (treble and bass clefs)Standard piano part (treble and bass clefs)Chords (chord shapes with chord names, e.g. Dm)Chords (ukulele tabs and chord shapes)Chords (guitar tabs and chord shapes)This arrangement of Trumpet Voluntary enables all students within a classroom, regardless of ability, to make clear progress on one or more of the parts provided. You can use the YouTube video above as a backing track within the classroom, helping the students to play together and freeing you up to teach. Or you can lead the session yourself.Backing tracks for all other pieces in this series can be found at https://www.youtube.com/channel/UCPhyKv6OeJfWvkmNIkzAjhAPrinting and CopyingThe purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.Also look out for the associated books, which offer this piece and others at a greatly reduced price.
$4.99
Boplicity (be Bop Lives)
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Jazz
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Miles Davis
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Gerhard Guter
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Boplicity
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Gerhard Guter
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SheetMusicPlus
Large Ensemble Alto Saxophone,Bass Guitar,Drum Set,Drums,Trombone,Trumpet,Vibraphone,Voice - Level 3 - SKU: A0.844237 By Miles Davis. By Gil Evans and M...
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Large Ensemble Alto Saxophone,Bass Guitar,Drum Set,Drums,Trombone,Trumpet,Vibraphone,Voice - Level 3 - SKU: A0.844237 By Miles Davis. By Gil Evans and Miles Davis. Arranged by Gerhard Guter. Jazz. Score and parts. 44 pages. Gerhard Guter #3574147. Published by Gerhard Guter (A0.844237). Jazz vocalists with a band will want to check this out! In 1949, Miles Davis organized the recording of twelve arrangements for the Capitol label, including the composition Boplicity. The composition, popularized with the lyric Bebop Lives by the late, great Mark Murphy, was originally recorded by: Miles Davis (trumpet), Mike Zwerin (trombone), Bill Barber (tuba), Junior Collins (French horn), Gerry Mulligan (baritone saxophone), Lee Konitz (alto saxophone), John Lewis (piano), Al McKibbon (bass), and Max Roach (drums). This new treatment maintains the cool flavor of the tune/arrangement, but is scored for jazz voice (could be doubled at the octave by an additional singer) with fully notated syllables. Unlike the original arrangement, neither tuba nor horn are required. Instead, the conventional instrumentation consists of flugelhorn (or trumpet - no mutes), alto sax, trombone, vibraphone, guitar, piano, bass, and drums. Exciting twists include a multi-meter bridge section, which weaves in and out of 3/4. Improv section with backgrounds and room for multiple soloists. Changes are in all parts. Horn ranges are very accessible and this is a great opportunity for a singer who wants to perform this classic tune with their band. Demo performed and recorded by Gerhard Guter.
$24.99
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
Grade 1 Music Theory Untangled Course Taster Pack
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Jane Stavrinoudis
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Jane Stavrinoudis
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Grade 1 Music Theory Untangled
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Jane Stavrinoudis
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SheetMusicPlus
SKU: A0.1507028 Composed by Jane Stavrinoudis. Arranged by Jane Stavrinoudis. 20th Century,21st Century,Children,Classical,Instructional. Educational Me...
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SKU: A0.1507028 Composed by Jane Stavrinoudis. Arranged by Jane Stavrinoudis. 20th Century,21st Century,Children,Classical,Instructional. Educational Method. 15 pages. Jane Stavrinoudis #1082413. Published by Jane Stavrinoudis (A0.1507028). Untangle the world of music theory with this engaging and accessible resource designed to make learning music theory an enjoyable and rewarding experience for students of all ages. This taster pack allows you try lesson 1 and then mark your work. The complete resource is available as a digital download. It offers a clear, step-by-step approach to understanding music theory concepts, making it ideal for both young learners and adult students learning any instrument.Whether you're just starting out or preparing for formal theory exams this resource is your key to mastering music theory with confidence and creativity. With its easy-to-follow lessons, engaging exercises, practical answers, and video explanations, strengthen your theoretical knowledge.How to use:1) For each lesson, click on the link and watch the short explanation video (or go to the Grade 1/2/3/4 or 5 Music Theory Untangled Playlist on YouTube at Jane Stavrinoudis Piano.2) Complete the exercises in each worksheet, referring to the concepts sheets as you go.3) Mark your work using the answers and remember that there will sometimes be more than one correct answer.
$4.99
Ducktales Theme
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Contemporain
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Mark Clifford Mueller and Mark
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Erin Spencer
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Ducktales Theme
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Erin Spencer
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SheetMusicPlus
Woodwind Ensemble Flute - Level 2 - SKU: A0.823298 Composed by Mark Clifford Mueller and Mark Mueller. Arranged by Erin Spencer. Contemporary. 11 pages....
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Woodwind Ensemble Flute - Level 2 - SKU: A0.823298 Composed by Mark Clifford Mueller and Mark Mueller. Arranged by Erin Spencer. Contemporary. 11 pages. Erin Spencer #4634211. Published by Erin Spencer (A0.823298). This upbeat tune has approachable notation and rhythms and a catchy melody. NO confusing repeats or DCs. Each part gets a chance to play the melody. Flute 1 goes up to a high G for your more advanced students but the other parts stay within an easy range. Alto and Bass Flute enhance the sound but are optional. This piece runs exactly 1 minute in length and will be an excellent opener, closer, or encore for your recital.Flute 1Flute 2Flute 3Flute 4Optional Alto FluteOptional Bass Flute.
$14.99
Septet, opus 77 ... Variations on a Shaker Tune (1998) - Score Only
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Thomas Oboe Lee
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Septet, opus 77 ... Variations
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Thomas Oboe Lee
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SheetMusicPlus
Level 4 - SKU: A0.1190435 Composed by Thomas Oboe Lee. 20th Century,Chamber,Classical,Contemporary. 34 pages. Thomas Oboe Lee #790011. Published by Thom...
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Level 4 - SKU: A0.1190435 Composed by Thomas Oboe Lee. 20th Century,Chamber,Classical,Contemporary. 34 pages. Thomas Oboe Lee #790011. Published by Thomas Oboe Lee (A0.1190435). Instrumentation:FluteClarinet in BbHorn in FViolinViolaCelloDoiuble bassSeptet, opus 77 … “Variations on a Shaker Tune†was commissioned by Mark Ludwig for his educational series in the Western Berkshires of Massachusetts.  When he approached me about writing a “theme and variations†work for the purpose of illustrating musical form, texture and orchestration to a young audience, I thought what better thing to do than to use as a theme a Shaker hymn from near Hancock Shaker Village.  As it turns out Deborah Leah Rentz, a mezzo-soprano who is Mark’s assistant at the TerezÃn Music Foundation, has been researching into and transcribing from a Shaker Hymnal, ca. 1850, created and compiled for the Hancock Shaker Village.  (Deborah’s project is sponsored by the Hancock Shaker Village and the Richmond Performing Series.)   So I asked her to put on a DAT tape (those were the days before CDs or digital distribution… ) a number of these hymns for me.  I immediately fell in love with the very first one on the tape, “Grateful Remembrance.† It had a soulful, melancholic core; an almost “bluesy†feeling to it.  In this performance, Deborah will sing the hymn a cappella at the beginning.   Then, the seven variations will follow.I. Grateful Remembrance … An instrumental version of the hymn.II. Grateful Chanting … Featuring the B-flat clarinet in a pentatonic “chant†setting.III. Grateful Funk … The “bluesiness†of the hymn is transformed into a funk riff.IV. Tango Remembered … A four-note fragment from the hymn is transformed into a sultry tango.V. Sambinha agradecida … The yearning “flat 6th†in the hymn is transformed into a samba Carmen Miranda would’ve have liked.VI. Canonized Remembrance … The hymn is treated to a canonic transfiguration.VII. Grateful Groove … The pentatonic nature of the hymn is spun out in an Afro-cuban dazzle dazzle finale!
$9.99
Septet, opus 77 ... Variations on a Shaker Tune (1998) for flute, clarinet, horn, violin, viola, cel
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Thomas Oboe Lee
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Septet, opus 77 ... Variations
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Thomas Oboe Lee
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Double Bass,Flute,Horn,Viola,Violin - Level 4 - SKU: A0.869298 Composed by Thomas Oboe Lee. 20th Century,A Cappella,Classi...
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Large Ensemble Cello,Clarinet,Double Bass,Flute,Horn,Viola,Violin - Level 4 - SKU: A0.869298 Composed by Thomas Oboe Lee. 20th Century,A Cappella,Classical,Contemporary,Latin,Romantic Period. Score and parts. With Grateful Chanting: Featuring the B-flat clarinet in a pentatonic chant setting. III. 46 pages. Thomas Oboe Lee #431091. Published by Thomas Oboe Lee (A0.869298). Instrumentation: Flute, Bb clarinet, Horn in F, Violin, Viola, Cello, Double Bass Program note: Septet, opus 77 ... Variations on a Shaker Tune was commissioned by Mark Ludwig for his educational series in the Berkshires of Massachusetts. When he approached me about writing a theme and variations work for the purpose of illustrating musical form, texture and orchestration to a young audience, I thought what better thing to do than to use as a theme a Shaker hymn from nearby Hancock Shaker Village. As it turns out Deborah Leath Rentz, a mezzo-soprano who is Mark's assistant at the Terezin Music Foundation, has been researching and transcribing a Shaker Hymnal, ca. 1850, created and compiled at the Hancock Shaker Village. (Deborah's project is sponsored by the Hancock Shaker Village and the Richmond Performing Series.) So I asked her to put on DAT tape a number of these hymns for me. I immediately fell in love with the very first one on the tape: Grateful Remembrance. It had a soulful, melancholic core; an almost bluesy feeling to it. In this performance, Deborah will sing the hymn a cappella in the beginning. Then, seven variations will follow. I. Grateful Remembrance: An instrumental version of the hymn. II. Grateful Chanting: Featuring the B-flat clarinet in a pentatonic chant setting. III. Grateful Funk: The bluesiness of the hymn is transformed into a funk riff. IV. Tango Remembered: A four-note fragment from the hymn is transformed into a sultry tango. V. Sambinha agradecida: The yearning flat 6th in the hymn is transformed into a samba Carmen Miranda would've loved. VI. Canonized Remembrance: The hymn is treated to a canonic transfiguration. VII. Grateful Groove: The pentatonic nature of the hymn is spun out in an Afro-cuban razzle dazzle finale!!! Enjoy!!!
$9.99
Septet, opus 77 ... Variations on a Shaker Tune (1998) for flute, clarinet, horn, violin, viola, cel
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Thomas Oboe Lee
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Septet, opus 77 ... Variations
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Thomas Oboe Lee
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Double Bass,English Horn,Flute,Viola,Violin - Level 4 - SKU: A0.869348 Composed by Thomas Oboe Lee. 20th Century,A Cappell...
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Large Ensemble Cello,Clarinet,Double Bass,English Horn,Flute,Viola,Violin - Level 4 - SKU: A0.869348 Composed by Thomas Oboe Lee. 20th Century,A Cappella,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 46 pages. Thomas Oboe Lee #6073. Published by Thomas Oboe Lee (A0.869348). Septet, opus 77 ... Variations on a Shaker Tune was commissioned by Mark Ludwig for his educational series in the Berkshires of Massachusetts. When he approached me about writing a theme and variations work for the purpose of illustrating musical form, texture and orchestration to a young audience, I thought what better thing to do than to use as a theme a Shaker hymn from nearby Hancock Shaker Village. As it turns out Deborah Leath Rentz, a mezzo-soprano who is Mark's assistant at the Terezin Music Foundation, has been researching and transcribing a Shaker Hymnal, ca. 1850, created and compiled at the Hancock Shaker Village. (Deborah's project is sponsored by the Hancock Shaker Village and the Richmond Performing Series.) So I asked her to put on DAT tape a number of these hymns for me. I immediately fell in love with the very first one on the tape: Grateful Remembrance. It had a soulful, melancholic core; an almost bluesy feeling to it. In this performance, Deborah will sing the hymn a cappella in the beginning. Then, seven variations will follow. I. Grateful Remembrance An instrumental version of the hymn. II. Grateful Chanting Featuring the B-flat clarinet in a pentatonic chant setting. III. Grateful Funk The bluesiness of the hymn is transformed into a funk riff. IV. Tango Remembered A four-note fragment from the hymn is transformed into a sultry tango. V. Sambinha agradecida The yearning flat 6th in the hymn is transformed into a samba Carmen Miranda would've loved. VI. Canonized Remembrance The hymn is treated to a canonic transfiguration. VII. Grateful Groove The pentatonic nature of the hymn is spun out in an Afro-cuban razzle dazzle finale!!! Enjoy!!!
$9.99
Thriving Three
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Gary Powell Nash
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Thriving Three
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Gary Powell Nash
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SheetMusicPlus
Instrumental Duet,Strings Instrumental Duet,Multi-Percussion - Level 4 - SKU: A0.881251 Composed by Gary Powell Nash. African,Contemporary,Jazz. Score a...
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Instrumental Duet,Strings Instrumental Duet,Multi-Percussion - Level 4 - SKU: A0.881251 Composed by Gary Powell Nash. African,Contemporary,Jazz. Score and parts. 82 pages. Gary Powell Nash #3546283. Published by Gary Powell Nash (A0.881251). Nash completed Thriving Three around the time of his daughter’s 3rd birthday and the title is derived from his daughter having finished the Terrible Two phase of her life. Other contributing items to the title Thriving Three are that it has three movements and the collaborating percussion part uses three instruments, including drum set, vibraphone and Djembe drum. Movement 1, marked Assertively, q = 100 is a moderately fast movement with highly syncopated rhythms of eighth and 16th notes in quadruple meter and supported mostly by the drum set. Movement 2, which is approached by metric modulation with no pause from movement 1 is marked Slowly and Sweetly, q = 66. It features mostly vibraphone. Movement 3 is marked Spirited, dotted quarter note = 100. Written in 6/8 time, it is a fast and dance-like movement with highly syncopated dance-like rhythms and primarily supported by Djembe drum and drum set.
$25.00
Music for Children
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Carl Orff and Gunild Keetman
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Arnold Walter and Doreen Hall
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q25928 Pentatonic. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. ...
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Voice, recorder and percussion - SKU: S9.Q25928 Pentatonic. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q25928. Published by Schott Music - Digital (S9.Q25928). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$10.99
Argraffiad Cymraeg
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Carl Orff and Gunild Keetman
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Argraffiad Cymraeg
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q23985 Pentatonig. Composed by Carl Orff and Gunild Keetman. This edition: score for voice and/or instru...
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Voice, recorder and percussion - SKU: S9.Q23985 Pentatonig. Composed by Carl Orff and Gunild Keetman. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q23985. Published by Schott Music - Digital (S9.Q23985). Welsh.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided.
$10.99
Music for Children
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Carl Orff and Gunild Keetman
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Arnold Walter and Doreen Hall
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q2433 Minor: Bordun. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall...
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Voice, recorder and percussion - SKU: S9.Q2433 Minor: Bordun. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q2433. Published by Schott Music - Digital (S9.Q2433). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$11.99
Music for Children
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Margaret Murray
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q42466 Pentatonic. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff-S...
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Voice, recorder and percussion - SKU: S9.Q42466 Pentatonic. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff-Schulwerk - Rhythmusübungen - Kinderreime. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q42466. Published by Schott Music - Digital (S9.Q42466). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this first volume: speech and rhythmic exercises, nursery rhymes, songs, instrumental pieces and melodic exercises using only the five note scale, with instructions and notes. Illustrated.
$21.99
Music for Children
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Margaret Murray
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q53825 Major: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voic...
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Voice, recorder and percussion - SKU: S9.Q53825 Major: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orchestration - Orff Schulwerk - keys. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 3. Schott Music - Digital #Q53825. Published by Schott Music - Digital (S9.Q53825). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this third volume: The instrumentation and range of keys are inceased. The settings include the chords on the fourth and fifth notes of the major scale.
$21.99
Music for Children
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Margaret Murray
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q47192 Minor: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instr...
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Voice, recorder and percussion - SKU: S9.Q47192 Minor: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q47192. Published by Schott Music - Digital (S9.Q47192). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fourth volume: Songs and pieces using the full range of the aeolian, dorian and phrygian modes. Accompaniements are founded on drone bass with the later addition of simple chords.
$21.99
Music for Children
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Margaret Murray
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Voice, recorder and percussion - SKU: S9.Q47388 Major: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instr...
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Voice, recorder and percussion - SKU: S9.Q47388 Major: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 2. Schott Music - Digital #Q47388. Published by Schott Music - Digital (S9.Q47388). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this second volume: Songs and pieces using the full major scale. Accompaniments are founded on drone bass with the later addition of simple chords.
$21.99
Dry Bones
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Mark Hayes
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Movement and Staging
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Dry Bones
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0002155 Dry Bones - TTBB. Arranged by Mark Hayes. Secular Choral. 15 pages. Alfred Music - Digital Sheet Music #00-PO-0002...
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Chorus - SKU: AX.00-PO-0002155 Dry Bones - TTBB. Arranged by Mark Hayes. Secular Choral. 15 pages. Alfred Music - Digital Sheet Music #00-PO-0002155. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002155). UPC: 038081178684.This Alfred Music best seller is now available for women's choirs! A fine, fun, and innovative arrangement of a popular spiritual about the prophet Ezekiel. Each verse is freshly approached, adding more and more excitement, building through a chromatically ascending this bone connected to that bone section, and ending with a big finish that will bring the house down! Great for festival use with or without the percussive SoundTrax or SoundPax. SoundPax includes parts for 2 a. sax., 2 t. sax., b. sax., 2 tpt., 2 tbn., rhy., perc.Inst. Parts Available (choral); Movement and Staging; Recorded Acc. Available.
$2.95
Gregory Sullivan Isaacs: The Death of Pyramus for bass buffo or baritone voice and piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: The D
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik M...
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Small Ensemble - Level 4 - SKU: A0.534549 Composed by Gregory Sullivan Isaacs. Concert,Contemporary,Standards. Score and parts. 10 pages. Musik Fabrik Music Publishing #3627069. Published by Musik Fabrik Music Publishing (A0.534549). Text by William Shakespeare (A Midsummer Night's Dream Act V, Scene I)The ultimate overblown death scene for an actor of limited abilitiesIn the play, Nick Bottom thinks that he is the greatest actor alive. However, he is appallingly dreadful - he shamelessly overplays every line, mugs incessantly and makes word errors. He thinks that he is fabulous when, in fact, he is ridiculous. His suicide scene is one of the great moments for comic actors and it can take as long as the actor wishes - even up to 5 minutes. This aria is set in the same manner and many buffo singers immediately come to mind as models for such satire. This selection cannot be overplayed. It can be sung by any male voiceTEXT: Sweet Moon, I thank thee for thy sunny beams.I thank thee, Moon, for shining now so bright.For by thy gracious, golden, glittering gleams,I trust to take of truest Thisbe sight.—But stay, O spite!But mark, poor knight,What dreadful dole is here!Eyes, do you see?How can it be?O dainty duck! O dear!Thy mantle good,What, stained with blood?Approach, ye Furies fell!O Fates, come, come,Cut thread and thrum.Quail, crush, conclude, and quell!O wherefore, Nature, didst thou lions frame?Since lion vile hath here deflowered my dear,Which is—no, no—which was the fairest dameThat lived, that loved, that liked, that looked with cheer.Come, tears, confound!Out, sword, and wound!The pap of Pyramus— Ay, that left papWhere heart doth hop. (stabs himself)Thus die I, thus, thus, thus.Now am I dead.Now am I fled.My soul is in the sky.Tongue, lose thy light.Moon, take thy flight.Now die, die, die, die, die.(dies)
$11.95
Mr. Brightside
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Rock
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The Killers
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Martin Wray
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Mr. Brightside
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Martin Wray
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 2 - SKU: A0.722684 By The Killers. By Brandon Flowers, Dave Keuning, Mark Stoermer, and Ronnie Va...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 2 - SKU: A0.722684 By The Killers. By Brandon Flowers, Dave Keuning, Mark Stoermer, and Ronnie Vannucci. Arranged by Martin Wray. Pop,Rock. Score and parts. 19 pages. Martin Wray #4608075. Published by Martin Wray (A0.722684). Mr. Brightside by The Killers, arranged for full string ensemble by Martin Wray. This version is very approachable for amateur and professional ensembles alike. Ideal for small ensemble concerts and educational opportunities as the parts are relatively simple both rhythmically and melodically. Please also see the string quartet version for weddings and corporate functions.
$34.99
Doubt & Determination (An Epic Sonata of Indeterminacy)
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Dennis Garretson
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Doubt & Determination
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Dennis Garretson
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SheetMusicPlus
Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary...
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Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary. Score and parts. 5 pages. Dennis Garretson #4580777. Published by Dennis Garretson (A0.993652). Description:Doubt & Determination bridges the gaps between musical eras, as one would hear certain nuance that dates back to the Baroque era but possess a rather modern musical structure. The piece challenges both the listeners and the player themselves. For the public ears, one will have to adapt the performer's perspectives to 'feel' the piece. As the title suggests, both 'Doubt' and 'Determination' are two human perceptions that oppose each other, to understand the music is to find common grounds between them, through unexpected cadences and dynamic change. The performer will have to deliver the technicalities of bringing them together, through detail instructions on dynamics and tempo change. The piece is modeled in Sonata Form. however, it is to be approached with indeterminacy, occasionally granting the performer the freedom through Tempo Rubato and Breath Perceptions.Practice Suggestion:This music can only prevail through expression, thus the commitment for dynamic is of the utmost importance. It is highly suggested to understand what makes this piece unique, a score analysis is always a good start. Mark out the accents (Staccato and Emphasis) and the tempo change. Establish breathing points since the piece has very minimal instructions for that, it is hence highly dependent on the performer's capability to deliver.A proper mindset is essential for the perfect performance.Instrumentations:Certain instruments are optional if a soprano saxophone is proven unavailable. The permitted exceptions are Violins (high strings with nuance deliverance) and Woodwinds within the tenor and soprano range.About the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.
$6.99
Pyrenean Carol Suite for Brass Ensemble with Percussion
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David Taylor
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Pyrenean Carol Suite for Brass
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Linden Brass Press Inc.
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SheetMusicPlus
Brass Ensemble Bass Trombone,Euphonium,Flugelhorn,Trumpet,Tuba - Level 5 - SKU: A0.1289622 Composed by David Taylor. Christmas,Contemporary,Traditional....
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Brass Ensemble Bass Trombone,Euphonium,Flugelhorn,Trumpet,Tuba - Level 5 - SKU: A0.1289622 Composed by David Taylor. Christmas,Contemporary,Traditional. Score and Parts. 94 pages. Linden Brass Press Inc. #880326. Published by Linden Brass Press Inc. (A0.1289622). ===Pyrenean Carol Suite(for Holborne Brass)Brass Ensemble with PercussionArranged by David TaylorInstrumentation: Trumpet 1 in Eb (alternate Bb part included), Trumpets 2 and 3 in Bb, Flugelhorn, Horn in F, Trombones 1 and 2, Bass Trombone, Euphonium, Tuba, Percussion (Cymbal, Sleigh Bells, Snare Drum, Tenor Drum)Playing time: 12-13 minutesThis epic suite of Christmas music from the mountains of the Pyrenees and the lands adjoining them is suitable for advanced ensembles. Included are Nadal Tindaire (Jingling Christmas), Gabriel's Message (Flugelhorn Solo), El Noi de la Mare (Euphonium Solo), Paure Satan (Tuba Solo), and Fum, Fum, Fum!Marking the border of France and Spain, the mountains of the Pyrenees and the lands adjoining them play host to a rich history, both political and musical, where regional powers have come to be dominated by the larger nations in which they now sit. While Navarre, Catalonia, and Occitania have not existed as nation states for a long time, their cultural sensitivities have never disappeared, they retain their own languages, and their musical traditions offer familiarity combined with interesting differences of approach. From the Basque country in the northwest of the range, spanning the border, with its remarkably unique language, to Catalonia in the southeast's major position in the make-up of modern Spain, vibrant regional cultures continue to thrive. Occitania lost prominence more deeply, and has been more thoroughly absorbed into modern France, but still regional sensibilities are strongly felt and expressed, including a formidable body of folk music. It is perhaps through music that we can most easily identify with these cultures, and the long Christian history of these lands has produced a deep tradition of regional Christmas songs to draw on.  ...David Taylor===.
$19.95
Una Pena Quita Pena
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Lynieve Austin, Simon James
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Una Pena Quita Pena
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DML
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SheetMusicPlus
Small Ensemble Guitar,Voice - Level 4 - SKU: A0.928252 Composed by Lynieve Austin, Simon James. Contemporary,Latin,Multicultural,World. Score and parts....
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Small Ensemble Guitar,Voice - Level 4 - SKU: A0.928252 Composed by Lynieve Austin, Simon James. Contemporary,Latin,Multicultural,World. Score and parts. 7 pages. DML #5355765. Published by DML (A0.928252). This is a complex song using the rhythm of a Flamenco rumba but with a mixture of finger style and strumming, it will need time and patience to do it well. It uses well known coplas from traditional Spanish sources and is naturally about love but with some fairly pointed remarks like the copla that ends ‘a shoe once worn, discarded, I never wear again’. One of the best things about the Flamenco approach to lyrics - you are never tied down to just one version so you can change the song according to the mood you’re in. This was first performed at the opening of the 2007 Croydon Jazz Festival.
$2.99
"The Sea of Sunset" - for Soprano, Trombone, Double Bass and Piano [Performance Score]
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Contemporain
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Lior Navok
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"The Sea of Sunset"
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Lior Navok Music
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SheetMusicPlus
Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - SKU: A0.976037 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 18 p...
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Small Ensemble Double Bass,High Voice,Piano,Trombone - Level 4 - SKU: A0.976037 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 18 pages. Lior Navok Music #4719307. Published by Lior Navok Music (A0.976037). THE SEA OF SUNSETfor Soprano, Trombone, Double Bass and Piano (1997) DURATION: 8 Minutes POEM BY: Emily Dickinson PROGRAM NOTES: The composer writes about his work: The poems of Emily Dickinson are very unique work of art. Most of her poems are full with detailed descriptions, transferring the poems to a medium of picture, carefully painted and calculated. Yet, it is quiet amazing that these poems came from the hand of a woman who lived secluded life, in her hometown Amherst, Massachusetts. A clue may be finds in one of Dickinson's saying: To shut our eyes is to travel. As I approached Dickinson's poems (which are close to 2000), I found that most of them, even the short ones, are built into a large space. Each poem needs its development time and cannot be rushed or squeezed to a regular song form. In The Sea of Sunset, I have let the words, the nature description, and the lazy mood of the poem take me to the picture medium. Adding the murmur of the sea, and the whisper of the wind, I tried to get as close as possible to the picture I saw through the poem. INFO: Item: Full Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 18 Ink: Black & White Paper Size: Folio (Europe) / Legal (USA) Remarks: All performers read from score.
$18.00
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Mark Roach