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--INSTRUMENTS--
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
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CHORALE - CHAN…
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melle onnu paadi ninne
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indian guitar lessons
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melle onnu paadi ninne
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indian guitar lessons
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SheetMusicPlus
Large Ensemble Alto Saxophone,Clarinet,Flute,Guitar,Oboe,Piano,Recorder,Violin - Level 1 - SKU: A0.905001 Arranged by indian guitar lessons. World. Scor...
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Large Ensemble Alto Saxophone,Clarinet,Flute,Guitar,Oboe,Piano,Recorder,Violin - Level 1 - SKU: A0.905001 Arranged by indian guitar lessons. World. Score and parts. 3 pages. Indian guitar lessons #6776399. Published by indian guitar lessons (A0.905001).
$4.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
My My My!
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Troye Sivan
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McKinley Thoreson
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My My My!
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McKinley Thoreson
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SheetMusicPlus
Choral Choir - Level 4 - SKU: A0.1195180 By Troye Sivan. By Brett McLaughlin, James Ghaleb, and Troye Mellet. Arranged by McKinley Thoreson. A Cappella,...
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Choral Choir - Level 4 - SKU: A0.1195180 By Troye Sivan. By Brett McLaughlin, James Ghaleb, and Troye Mellet. Arranged by McKinley Thoreson. A Cappella,Pop. Octavo. 12 pages. McKinley Thoreson #794359. Published by McKinley Thoreson (A0.1195180).
$5.00
Ave Maria
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Ottetto vocale VOCES et LUCES
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Ave Maria
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Antonello Rizzella
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SheetMusicPlus
Choir - Level 4 - SKU: A0.1116607 By Ottetto vocale VOCES et LUCES. By Antonello Rizzella. A Cappella,Christian,Classical,Sacred. Full Performance. Dura...
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Choir - Level 4 - SKU: A0.1116607 By Ottetto vocale VOCES et LUCES. By Antonello Rizzella. A Cappella,Christian,Classical,Sacred. Full Performance. Duration 142. Antonello Rizzella #718263. Published by Antonello Rizzella (A0.1116607). AVE MARIA, di Antonello Rizzella, op.35b Eseguita dall'Ottetto vocale VOCES et LUCES (Vincenza Giacoia e Cristina Ormellese, soprani - Mirea Marchetto Mollica e Nera Caronti, contralti - Gianni Marsetti e Umberto Bonacina, tenori - Enrico Bianchi e Maurizio Castagna, bassi). Registrazione del 9 ottobre 2018, Basilica di S.Fedele, Como.
$2.00
Mozart: Balletmusik zur Pantomime "Les petits riens" Overture K299b K.anh 10 - wind dectet
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Classique
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Wolfgang Amadeus Mozartt
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Ray Thompson
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Mozart: Balletmusik zur Pantom
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 4 - SKU: A0.555861 Composed by Wolfgang Amadeus Mozartt. Arranged by Ray Thompson. Classical. Score and parts. 28 pages. RayThomp...
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Large Ensemble - Level 4 - SKU: A0.555861 Composed by Wolfgang Amadeus Mozartt. Arranged by Ray Thompson. Classical. Score and parts. 28 pages. RayThompsonMusic #5041165. Published by RayThompsonMusic (A0.555861). Les petits riens (French for The Little Nothings) is a ballet in one act and three tableaux by Jean-Georges Noverre, with music by Wolfgang Amadeus Mozart and other unknown composers, possibly including François-Joseph Gossec[citation needed], first performed at the Academie Royale de Music in Paris on 11 June 1778.While Mozart was staying in Paris, Noverre asked him to compose a new score for a ballet that he had created in Vienna in 1767. The ballet was to be danced as an interlude in the new opera Le finte gemelle by Niccolò Piccinni.[1] The opera was a flop and closed after four performances. Although the ballet music was well-received,[2] Mozart was not credited with it, and he was at the time little-known in Paris.This arrangement for wind dectet and bass is the Overture.Horn parts are for natural horns in C bassoThe score, catalogued as K. 299b, was thought lost, but it was rediscovered in the Paris Opera's archives in the late 19th century[1] and has since entered both the ballet and symphonic repertoire.
$14.95
Still D.r.e.
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Contemporain
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Dr
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Diane M
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Still D.r.e.
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Diane M. McGahee
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SheetMusicPlus
Small Ensemble - SKU: A0.769214 By Dr. Dre. By Andre Romell Young, Andre Romelle Young, Melvin Bradford, Scott Spencer, Scott Spencer Storch, Shawn C. C...
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Small Ensemble - SKU: A0.769214 By Dr. Dre. By Andre Romell Young, Andre Romelle Young, Melvin Bradford, Scott Spencer, Scott Spencer Storch, Shawn C. Carter, and Shawn Carter. Arranged by Diane M. McGahee. Contemporary. Score and parts. 3 pages. Diane M. McGahee #5728891. Published by Diane M. McGahee (A0.769214).
$4.99
Paris - Score Only
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Jonatha Brooke
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Eric Melley
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Paris - Score Only
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Lyric Melee
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SheetMusicPlus
Level 4 - SKU: A0.1216002 Composed by Jonatha Brooke. Arranged by Eric Melley. Chamber,Contemporary,Singer/Songwriter. 30 pages. Lyric Melee #812660. Pu...
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Level 4 - SKU: A0.1216002 Composed by Jonatha Brooke. Arranged by Eric Melley. Chamber,Contemporary,Singer/Songwriter. 30 pages. Lyric Melee #812660. Published by Lyric Melee (A0.1216002). An arrangement of Jonatha Brooke's Paris for voice, rhythm section, SQ, and horns.
$15.00
Plumfall
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Folklorique/Traditionel
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Luke Hebert
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Plumfall
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Luke Hebert
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Recorder,Tin Whistle - Level 2 - SKU: A0.1028685 Composed by Luke Hebert. Folk. Score and parts. 1 pages. Luke Heber...
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Instrumental Duet Instrumental Duet,Recorder,Tin Whistle - Level 2 - SKU: A0.1028685 Composed by Luke Hebert. Folk. Score and parts. 1 pages. Luke Hebert #3686759. Published by Luke Hebert (A0.1028685). Near my apartment is a small bunch of plum trees. I pass them every day that I go to work, take a jog, or visit a neighbor. One fall day, so many plums had fallen around these trees that the entire area smelled of sweet plum wine. It is their constant plopping and dropping that inspired the melody for this tune.
$1.99
What A Friend
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Esperanza Spalding
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Eric Melley
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What A Friend
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Lyric Melee
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SheetMusicPlus
B-Flat Clarinet,Cello,Double Bass,Drum Set,Flugelhorn,Flute,Piano,Tenor Saxophone,Tenor Trombone,Viola,Violin - Level 5 - SKU: A0.1215743 By Esperanza S...
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B-Flat Clarinet,Cello,Double Bass,Drum Set,Flugelhorn,Flute,Piano,Tenor Saxophone,Tenor Trombone,Viola,Violin - Level 5 - SKU: A0.1215743 By Esperanza Spalding. By Esperanza Spalding. Arranged by Eric Melley. Chamber,Jazz. 23 pages. Lyric Melee #812473. Published by Lyric Melee (A0.1215743). An orchestration of Spalding's What a Friend for rhythm, horns, and SQ.
$50.00
Fauré: Dolly Suite Op.56 No.2 "Mi-a-ou" - symphonic wind
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Classique
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Gabriel Faure
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Ray Thompson
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Fauré: Dolly Suite Op.5
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - SKU: A0.553878 Composed by Gabriel Faure. Arranged by Ray Thompson. 20th Century...
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - SKU: A0.553878 Composed by Gabriel Faure. Arranged by Ray Thompson. 20th Century,Holiday,Wedding. Score and parts. 22 pages. RayThompsonMusic #5215831. Published by RayThompsonMusic (A0.553878). The Dolly Suite, Op. 56, is a collection of pieces for piano four-hands by Gabriel Fauré. It consists of short pieces written or revised between 1893 and 1896, to mark the birthdays and other events in the life of the daughter of the composer's mistress.An orchestral version of the suite was scored in 1906 by Henri Rabaud, and has, like the original piano duet version, received several recordings. The best-known section of the suite, the Berceuse, has been arranged for several combinations of instruments. In Britain it became famous as the play-out tune to Listen with Mother.The suite, consisting of six short pieces, each with its own title: Berceuse, Mi-a-ou, Le jardin de Dolly, Kitty-valse, Tendresse and Le pas espagnol. The complete suite takes about fifteen minutes to perform.This is my arrangement of movement.2 Mi-a-ouAllegro vivo. Mi-a-ou was written for Dolly's second birthday in June 1894. The title does not refer to a pet cat, as has often been supposed, but to Dolly's attempts to pronounce the name of her elder brother Raoul, who later became one of Fauré's favourite pupils.The young Dolly called her brother Messieu Aoul, which Fauré took as the original title for the piece. In his finished manuscript the title is shortened to Miaou (without hyphens).The Fauré scholar Robert Orledge writes that the title Mi-a-ou, like that of the Kitty-valse later in the suite, is the responsibility of Fauré's publisher, Julien Hamelle.[
$7.95
Mozart: Balletmuzik zur Pantomine “Les petits riens” Nos. 6 to 13 - wind dectet/bass
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Classique
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Balletmuzik zur Pantom
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - SKU: A0.553948 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Cl...
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 5 - SKU: A0.553948 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical. Score and parts. 55 pages. RayThompsonMusic #6328785. Published by RayThompsonMusic (A0.553948). Les petits riens (French for The Little Nothings) is a ballet in one act and three tableaux by Jean-Georges Noverre, with music by Wolfgang Amadeus Mozart and other unknown composers, possibly including François-Joseph Gossec[citation needed], first performed at the Academie Royale de Music in Paris on 11 June 1778.While Mozart was staying in Paris, Noverre asked him to compose a new score for a ballet that he had created in Vienna in 1767. The ballet was to be danced as an interlude in the new opera Le finte gemelle by Niccolò Piccinni.[1] The opera was a flop and closed after four performances. Although the ballet music was well-received,[2] Mozart was not credited with it, and he was at the time little-known in Paris.An arrangement for wind dectet of movts. 6 to 13. (Overture available separately)6 Gavotte 7 Adagio 8.Gigue 9.Gavotte Gracieuse 10.Pantomine 11.Passepied 12.Gavotte 13.AndanteHorn parts are for Natural Horns in F, D, A and Bb basso
$19.95
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