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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
The Last One
Non classifié
1 301
Piano & claviers
Piano seul
432
Piano, Voix
99
Piano Facile
90
Piano, Voix et Guitare
81
Instruments en Do
34
Orgue
29
Accompagnement Piano
12
1 Piano, 4 mains
9
Piano Trio: piano, violon, violoncelle
7
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano (partie séparée)
2
Piano grosses notes
1
Orgue, Trompette (duo)
1
Ensemble d'Accordéons
1
Clavier
1
Accordéon
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
48
Guitare
38
Ligne De Mélodie, (Paroles) et Accords
13
Basse electrique
9
Mandoline
6
Paroles et Accords
6
2 Guitares (duo)
5
Banjo
5
Guitare (partie séparée)
4
Ukulele
3
Dulcimer
2
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
Ensemble de guitares
1
Piano, Guitare (duo)
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
252
Chorale 3 parties
73
Voix Baryton, Piano
35
Chorale TTBB
32
Chorale 2 parties
24
Chorale Unison
22
Chorale SSAA
19
Voix Soprano, Piano
16
Voix duo, Piano
9
Voix haute
8
Pack Instrumental pour Chorale
5
Voix Tenor
3
Voix basse, Piano
3
Soli, choeur mixte et accompagnement
3
Voix Alto, Piano
3
Voix Tenor, Piano
3
Voix duo
3
Voix seule
2
Voix moyenne, Piano
2
Voix basse
2
Chorale
1
+ 16 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
175
Saxophone (partie séparée)
128
2 Saxophones (duo)
123
Saxophone Alto
85
Saxophone Alto et Piano
84
Saxophone Tenor
73
Flûte, Hautbois, Clarinette, Basson
57
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
56
Saxophone Tenor et Piano
54
Saxophone Soprano et Piano
48
Quintette de Saxophone: 5 saxophones
42
2 Flûtes traversières (duo)
39
Flûte traversière et Piano
39
2 Clarinettes (duo)
39
Hautbois, Piano (duo)
38
Saxophone Baryton, Piano
35
3 Saxophones (trio)
35
Saxophone, Clarinette (duo)
32
Clarinette
31
Clarinette et Piano
30
Quatuor de Clarinettes: 4 clarinettes
30
Hautbois (partie séparée)
24
Flûte traversière
24
Quatuor de Flûtes : 4 flûtes
23
Clarinette, Violon (duo)
21
Ensemble de saxophones
19
Flûte, Clarinette (duo)
16
Clarinette, Trompette (duo)
15
Flûte, Violon
14
Ensemble de Flûtes
12
3 Clarinettes (trio)
12
Saxophone
11
Hautbois, Basson (duo)
11
Flûte, Alto (duo)
11
Hautbois, Clarinette (duo)
10
Clarinette et Alto
10
Hautbois, Flûte
9
Flûte, Trompette (duo)
8
Flûte, Saxophone (duo)
8
Ensemble de Clarinettes
8
2 Hautbois (duo)
8
Trio de Flûtes: 3 flûtes
8
Saxophone Soprano
6
Clarinette Basse, Piano
6
Quintette de Clarinettes: 5 clarinettes
6
Flûte et Guitare
6
Clarinette (partie séparée)
6
Quintette de Flûte : 5 flûtes
5
Cor anglais, Piano
4
Flute (partie séparée)
4
Flûte, Hautbois, Clarinette (trio)
4
Clarinette, Violoncelle (duo)
4
Harmonica
3
Hautbois, Clarinette, Basson (trio d'anches)
3
2 Flûte à bec (duo)
3
Quatuor de Flûtes à bec
3
Cor Anglais
3
Flûte, Hautbois (duo)
3
Clarinette, Basson (duo)
3
Flûte à bec Alto
3
Flûte à Bec
3
Piccolo
2
5 Flûtes à bec
2
Saxophone et Guitare
2
3 Flûtes à bec (trio)
2
Clarinette, Guitare (duo)
2
Hautbois, violon (duo)
2
Flûte à bec Soprano, Piano
1
Piccolo, Piano
1
Flûte, Violoncelle
1
Flûte, Violoncelle, Piano (trio)
1
Flûte à bec Tenor
1
Flute, harpe et violon
1
Flûte, Clarinette, Piano (trio)
1
Hautbois, Basson et Piano
1
Ocarina
1
Hautbois, Violoncelle
1
Flûte, Clarinette, Violon (trio)
1
Saxophone et Orgue
1
Flûte, Clarinette et Basson
1
Ensemble De Flûte à bec
1
Flûte, Basson et Piano
1
Ensemble de Hautbois
1
Clarinette Basse
1
+ 79 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
127
Quatuor de Cuivres : 2 trompettes, trombone, tuba
93
Trombone
74
Trombone et Piano
74
Trombone (partie séparée)
64
Trompette
34
2 Trombones (duo)
32
Quatuor de Cuivres: 2 trompettes, Cor, trombone
26
Quatuor de Cuivres
25
Quatuor de cuivres: 4 trombones
23
Trompette, Saxophone (duo)
22
Trompette, Piano
20
Trompette (partie séparée)
18
Cor et Piano
17
Trompette, Trombone (duo)
17
Ensemble de Trombones
14
2 Trompettes (duo)
13
Tuba et Piano
10
Euphonium, Piano (duo)
8
Cor
8
3 Trombones (trio)
6
Tuba
6
Trio de Cuivres
5
Cor anglais, Piano
4
Ensemble de Cors
4
2 Euphoniums et 2 Tubas
4
Trompette, Cor (duo)
4
Cor (partie séparée)
3
2 Cors (duo)
3
3 Tubas (trio)
3
Cor Anglais
3
Tuba (partie séparée)
3
3 Cors (trio)
3
Quatuor de cuivres: 4 cors
3
Tuba et Orgue
2
Euphonium
2
Ensemble de Trompettes
2
Quatuor de cuivres: 4 trompettes
2
4 Tubas
2
Trombone, Tuba (duo)
2
Ensemble de Tubas
1
3 Euphoniums
1
2 Tubas (duo)
1
Trombone, Orgue
1
Trombone, Cor (duo)
1
Euphonium, Tuba (duo)
1
Trombone basse et Piano
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone basse
1
+ 44 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
145
Violon et Piano
54
Violon
45
Violoncelle
37
Violon, Violoncelle (duo)
35
Violoncelle, Piano
32
Alto, Piano
30
Harpe
25
2 Violons (duo)
24
Violon, Alto (duo)
23
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Trio à Cordes: violon, alto, violoncelle
14
Alto seul
14
2 Violoncelles (duo)
14
Trio à Cordes: 2 violons, violoncelle
12
Contre Basse
11
2 Altos (duo)
9
Contrebasse, Piano (duo)
9
Violon (partie séparée)
8
Contrebasse (partie séparée)
7
4 Violoncelles
5
Alto, Violoncelle (duo)
5
Quatuor à cordes: 4 violons
4
Violon, Guitare (duo)
3
2 Harpes (duo)
3
Alto (partie séparée)
3
Trio à cordes: 3 violins
3
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes : 4 altos
3
Trio à cordes: 3 altos
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle, Orchestre
1
Violoncelle (partie séparée)
1
Trio à Cordes: 2 violons, alto
1
Violoncelle , Guitare (duo)
1
Violoncelle, Contrebasse (duo)
1
Harpe et Piano
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
420
Orchestre
114
Ensemble Jazz
62
Ensemble de cuivres
58
Orchestre à Cordes
58
Cloches
23
Orchestre de chambre
17
Jazz combo
13
Ensemble de Percussions
12
Fanfare
11
Batterie
6
Marimba
4
Xylophone, Piano
3
Percussion (partie séparée)
3
Vibraphone
2
Batterie (partie séparée)
2
Xylophone
1
Piano et Orchestre
1
+ 13 instrumentations
Retracter
Autres
Instruments
ACCORDEON
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AUTRES INST…
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BASSE
BASSON
BATTERIE
BOUZOUKI
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CHARANGO
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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UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
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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
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PIANO
SAXOPHONE
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TROMBONE
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VIBRAPHONE
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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…
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1301
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
#
Various
#
Alastair Lodge
#
Chording to the Dance Masters
#
Wold Meridian
#
SheetMusicPlus
Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman ...
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Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
#
Various
#
Alastair Lodge
#
Chording to the Dance Masters
#
Wold Meridian
#
SheetMusicPlus
Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina,...
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Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
#
Therese Brenet
#
Thérèse Brenet:
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and pa...
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Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and parts. 39 pages. Musik Fabrik Music Publishing #45421. Published by Musik Fabrik Music Publishing (A0.532835). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$22.05
Telemann – Polish Dances from the Rostock Manuscript TWV 45
#
Georg Philipp Telemann
#
Sneakwood Editions
#
Telemann – Polish Dances
#
Sneakwood Editions
#
SheetMusicPlus
Small Ensemble - Level 1 - SKU: A0.890779 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Folk,Jewish,World. Score and parts...
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Small Ensemble - Level 1 - SKU: A0.890779 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Folk,Jewish,World. Score and parts. 32 pages. Sneakwood Editions #5799897. Published by Sneakwood Editions (A0.890779). Georg Philipp Telemann – Polish Dances from the Rostock Manuscript TWV 45 (Danse d`Polones / Danse Polonie)Telemann was seduced by Polish music, especially by his dances and popular musicI became acquainted there and also in Krakau with Polish and Moravian music in its true, barbaric beauty […] […] it is impossible to imagine the fantastic musical ideas they presented between dances when the dancers rested and the musicians improvised music together [‘jammed’] to fill out the time. Anyone who paid very close attention could pick up in 8 days sufficient musical ideas to last a lifetime.(Telemann’s autobiography, published in Mattheson’s Ehren-Pforte, Hamburg, 1740)It is easy to understand, through Telemann’s own words, the great influence that Polish music and Polish dances had on Telemann. It was in 1705 when Telemann become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, in Poland), His career there was cut short in early 1706 by the hostilities of the Great Northern War but his contact with Polish music marked him for life.These Polish dances found in Rostock are a reflection of the music that Telemann heard and transcribed. A reflection of that barbaric beauty.The manuscript was discovered in 1986 at the University of Rostock. It consists of two volumes. One of the volumes contains the violin part and the other the bass part.
$18.00
The Journey (Downloadable Piano/Vocal Score)
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David Conte
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Antoinette Kuhry, producer
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The Journey
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SA...
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6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SATB Chorus) - SKU: MQ.5969-E Composed by David Conte. Instrument part. 47 pages. E. C. Schirmer Music Company - Digital #5969-E. Published by E. C. Schirmer Music Company - Digital (MQ.5969-E). The Journey is a twenty-minute cantata extracted from the opera The Dreamers. The opera was commissioned and produced by the Sonoma City Opera in 1996; Antoinette Kuhry, producer; musical direction by John Miner; stage direction by Sanrda Bernhard. The Dreamers captures a formative moment in American history where characters are separated by their cultural and racial differences, and brought together by their dreams and their longing for a new home. The Journey was commissioned by the Oakland East Bay Symphony, Michael Morgan, conductor, and was premiered at the Paramount Theater in Oakland, CA on May 18th, 2001. To set the scene for the excerpt here entitled The Journey: The entire town of Sonoma is gathered at The Collonade Theater to watch an amateur production of Shakespeare's Othello. An unpleasant racial incident occurs which brings the performance to a halt. To smooth thingsover, a sing-a-long is proposed. The song chosen is My Old Kentucky Home by Stephen Foster. After a brief statement of that tune in the orchestra, the entire company enters a dream-state, as six characters from the opera, with commentary by the chorus, sing arias about home. Johnny Rowe, an American soldier stationed in Sonoma, serves as a kind of master-of-ceremonies. Black Sam is a freed slave working as a gambler in Sonoma to earn money to buy his wife out of slavery. Indian Princess Isadora is the last of her tribe. Jim and Mary Eastin have migrated to California from Kentucky. Lizzy Fine is a widow who sings a farewell to her departed husband. The finale of this sequence is an Octet, where all six characters and the men and women of the chorus sing their various texts together, ending with the words from Stephen Foster: Weep no more.
$16.00
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Guthrie: The Saxophone Choir Christmas Book
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Noël
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Traditional
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James M
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Alto
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Guthrie: The Saxophone Choir C
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.550709 Composed by Traditional. Arranged by James M. Guthrie, AS...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.550709 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 68 pages. Jmsgu3 #4784649. Published by jmsgu3 (A0.550709). The Saxophone Christmas BookChristmas Reharmonizations by James M. Guthrie. The Saxophone Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your sax choir can perform the Saxophone Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. Soprano & Alto read from the score on one stand, while the Tenor & Bass uses the parts on a separate stand. The Saxophone Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Saxophone Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Saxophone Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of wind instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
Schubert: Moment Musicaux for Baritone Horn & Piano
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Classique
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Franz Schubert
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James M
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Schubert: Moment Musicaux for
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 2 - SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sac...
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Baritone Horn TC,Euphonium,Piano - Level 2 - SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447443. Published by jmsgu3 (A0.552841). Baritone Horn version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
We Gather Together
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Noël
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Eduard Kremser
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F
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We Gather Together
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Sweetwater Brass Press
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SheetMusicPlus
Level 3 - SKU: A0.808696 Composed by Eduard Kremser (1838-1914). Arranged by F. Leslie Smith. Christmas,Holiday. 20 pages. Sweetwater Brass Press #49681...
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Level 3 - SKU: A0.808696 Composed by Eduard Kremser (1838-1914). Arranged by F. Leslie Smith. Christmas,Holiday. 20 pages. Sweetwater Brass Press #4968147. Published by Sweetwater Brass Press (A0.808696). We Gather Together is one of the best known Thanksgiving hymns. It originated in the Netherlands in 1597 as Wilt Heden Nu Treden, written by Adrianus Valerius to commemorate a victory in the Dutch war of liberation from Spanish oppression. It was first published in Valerius’ 1626 collection of Dutch folks songs, Nederlandtsche Gedenck-Clanck. In 1877, the Austrian composer and conductor, Eduard Kremser, published arrangements for six songs from Valerius’ collection, one of which was Wilt Heden Nu Treden. Seven years later, American musicologist Theodore Baker wrote a modern English version of the hymn. It is Baker’s words and Kremser’s melody that are today sung as We Gather Together.  This arrangement consists of six versions of the Kremser tune. The first is a fairly straightforward melody-and-harmony rendition, except that Trumpet 1 begins solo, and the other instruments join the playing group one at a time. Succeeding versions consist of variations, until the final, which, for the four upper instruments, reverts to a simple statement of melody-plus-harmony. Tuba, on the other hand, has a wonderful running bass part. The piece ends with a brief diminuendo and ritardando repetition of the last four measures. The key signature changes twice: C to D and back to C. There are no tricky rhythmic figures. As for high notes: Trumpet 1 plays one quarter-note A above its staff; Trombone has two high-F eighth-notes.   This arrangement was completed in 2019, and performance time runs about 2 minutes, 55 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$6.99
The Butterfly
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Contemporain
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Daniel Burwasser
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The Butterfly
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Head and Stem
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SheetMusicPlus
Flute,Vibraphone,Voice - Level 4 - SKU: A0.1089176 Composed by Daniel Burwasser. Contemporary. 8 pages. Head and Stem #693387. Published by Head and Ste...
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Flute,Vibraphone,Voice - Level 4 - SKU: A0.1089176 Composed by Daniel Burwasser. Contemporary. 8 pages. Head and Stem #693387. Published by Head and Stem (A0.1089176). Pavel Friedmann wrote the poem “The Butterfly†in 1942 in the Terezin Ghetto when he was 21. He was murdered in the Auschwitz extermination camp in 1944. Pavel was born in 1921 in Prague, Czechoslovakia (now the Czech Republic) to a Jewish father and a Christian mother. The Butterfly is a living symbol of the beauty of freedom. Such a free spirit could never have survived the confines of the Warsaw ghetto. But while the butterfly did fly away, the spirit and love of freedom it represented never left the souls of the Jews of the ghetto. They always prayed that one day the barbed wire would come down and the butterfly would reappear. The butterfly flutters there today, but many of the Jews who prayed for its return did not live to welcome it back. The first performance of The Butterfly was given on May 8, 1988 at JASA in New York City. The performers were: Andrew Bolotowsky, flute Glenn Rhian, vibraphone Mimi Stern-Wolfe, reciter There are at least two versions of the poem The Butterfly due to different translations.This work uses VERSION 2 as translated here: The last, the very last, So richly, brightly, dazzlingly yellow. Perhaps if the sun's tears would sing against a white stone... Such, such a yellow carried lightly way up high. It went away I'm sure because it wished to kiss the world goodbye. For seven weeks I've lived in here, penned up inside this ghetto, but I have found my people here. The dandelions call to me and the white chestnut candles in the court. Only I never saw another butterfly. That butterfly was the last one. Butterflies don't live in here, In the ghetto.For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$12.00
One last bar then Joe can sing
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Gavin Bryars
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One last bar then Joe can sing
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Schott Music - Digital
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SheetMusicPlus
Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloa...
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Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloadable, score and parts. Duration 20 minutes. Schott Music - Digital #Q50078. Published by Schott Music - Digital (S9.Q50078). One Last Bar Then Joe Can Sing (1994) was commissioned by the Arts Council of Great Britain for the percussion quintet Nexus, and is a reflection on aspects of percussion history, both personal and musical. The members of Nexus are my friends (I played in the Steve Reich Ensemble along with Russ Hartenberger in 1972, the year after Nexus was formed). The piece aimed to demonstrate how a fine percussion ensmeble can be as musically expressive and subtle as, say, a string quartet. The piece starts from the last bar at the end of the second act of my opera Medea, a very short coda for a quintet of untuned percussion instruments during which the curtain falls. In this piece, however, this one apparently innocuous measure is progressively fragmented until it is taken over, little by little, by the addition of tuned percussion instruments. Eventually two metallophones (crotales and songbells) play aria-like material with bows, occasionally joined by the xylophone, and accompanied by marimba and xylophone ostinati. The piece ends with a coda in which phrases are passed from bowed vibraphone to bowed crotales, then to bowed songbells, supported by tremolos on the marimbas. The rare 3-octave songbells that Nexus owns is one of the American instrument maker J. C. Deagan's particularly fine instruments. The piece is effectively a kind of homage to Deagan, the Stradivarius of the tuned percussion world, who collaborated closely with Percy Grainger in the development of tuned percussion music between the wars. The allusions in the title are obvious: the one last bar is the last measure of music from my opera; the song is that of Deagan's songbells. In the case of Joe I wanted to link my father, Joe Bryars (who was a good amateur baritone singer) with Joseph Deagan and his songbells. However, some time after I had written the piece, Nexus's Bob Becker took me to one side and told me (gently) that the initial J in Deagan's name, in fact, stood for JohnGavin BryarsPercussion 1: Crotales (with bow), Chocolo, Mark Tree; Percussion 2I: Song Bells (with bow), Chinese Cymbal, 3 Wood Blocks; Percussion 3: 2 Cymbals, 2 Triangles, Xylophone, Marimba (shared with Marimba II), Vibraphone (with bow); Percussion 4: 2 Cymbals, 2 Gongs, Marimba I (with low F), Maracas; Percussion 5: 2 low Tom-Toms, Marimba II (to low A).
$45.99
Stephansdom for Solo Bass Trombone & Trombone Choir
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Contemporain
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Diefendorfer, Ryan
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Diefendorfer, Ryan
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Stephansdom for Solo Bass Trom
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Bass Trombone - Level 5 - SKU: A0.792274 Composed by Diefendorfer, Ryan. Arranged by Diefendorfer, Ryan. 20th Century,Contemporary. Score...
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Small Ensemble Bass Trombone - Level 5 - SKU: A0.792274 Composed by Diefendorfer, Ryan. Arranged by Diefendorfer, Ryan. 20th Century,Contemporary. Score and parts. 60 pages. Gordon Cherry #4803763. Published by Gordon Cherry (A0.792274). Stephansdom is a new composition, descriptive of the iconic St. Stephan's Cathedral in central Vienna. Ryan Diefendorfer wrote this work for the Indiana University Trombone Ensemble for Bass Trombone solo and Trombone Choir (6-part) to be performed by Carl Lenthe at the 2012 Eastern Music Festival. Ryan's work was awarded the winner of the 2012 Eastern Trombone Workshop National Composition Competition. St. Stephen’s Cathedral, also known as Stephansdom, is one of Vienna’s most remarkable city icons. Dating back to 1137, Stephandsom towers above the rest of Vienna’s skyline and has been a constant presence in the lives of the Viennese for nearly one thousand years. Among the buildings that the Viennese find closest to their hearts, Stephansdom is certainly one of them I. Groundbreaking The first movement depicts the troubles that St. Stephen’s Cathedral had in getting its groundbreaking as a church. The opening of the piece marks the celebration of the Viennese when St. Stephen’s was first constructed in 1137, during the Romanesque era. However, the church faced many issues-from being destroyed by the Babenberg Empire to being decimated by a fire-before the church began its construction in the Gothic style in 1307. The first movement depicts these struggles before resolving to an open chord. II. Steffl Steffl, the nickname for Stephansdom’s soaring north tower, is one of the characteristics of the cathedral that the Viennese find so endearing. This movement is very upbeat and is meant to portray the excitement shared by the Viennese for this beautiful addition to Stephansdom, which was completed in 1433. Stephansdom’s north tower is the tallest structure in Vienna, and distinctly stands out within Vienna’s skyline. III. 1945 As World War II was coming to a close in 1945, Stephansdom’s roof caught fire from a neighboring building, destroying large portions of the church. One climax occurs at m.30, which depicts Stephansdom’s great bell, the Pummerin, crashing down to the ground. This movement depicts the chaotic nature of the raging fire of 1945. IV. Anton Pilgrim Anton Pilgrim was the last, and perhaps most beloved, architect who worked on St. Stephen’s Cathedral in the Gothic style. One of his most famous projects was the St. Stephen’s organ loft, which is depicted by an opening organ-like canon. The final movement to the piece ends in a chorale-like fashion, demonstrating the Viennese’s love for Anton Pilgrim, as well as Stephansdom, one of Vienna’s most iconic sights. This work of 12 minutes in length is appropriate for advanced performers.
$27.50
Guthrie: The Tuba Choir Christmas Book
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Noël
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Traditional
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James M
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Guthrie: The Tuba Choir Christ
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jmsgu3
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SheetMusicPlus
Tuba - Level 2 - SKU: A0.550704 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Sacred,Standards. 68 pages. Jmsgu3 #4777043. Pub...
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Tuba - Level 2 - SKU: A0.550704 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Sacred,Standards. 68 pages. Jmsgu3 #4777043. Published by jmsgu3 (A0.550704). The Tuba Christmas BookChristmas Reharmonizations by James M. Guthrie. The Tuba Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your tuba choir can perform the Tuba Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. tubas read from the score on one stand, while the Euphoniums each use the parts on separate stands. The Tuba Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Tuba Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Tuba Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of the low brass instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$38.95
Guthrie: The Flute Choir Christmas Book
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Noël
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Traditional
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James M
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Guthrie: The Flute Choir Chris
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 2 - SKU: A0.550706 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 66 pages. ...
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Woodwind Ensemble - Level 2 - SKU: A0.550706 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 66 pages. Jmsgu3 #4780493. Published by jmsgu3 (A0.550706). The Flute Christmas BookChristmas Reharmonizations by James M. Guthrie. The Flute Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your flute choir can perform the Flute Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. flutes read from the score on one stand, while the alto & bass flutes each use the parts on separate stands. The Flute Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Flute Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Flute Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of the flutes.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
Guthrie: The French Horn Choir Christmas Book
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Noël
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Traditional
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James M
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Guthrie: The French Horn Choir
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jmsgu3
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SheetMusicPlus
Horn - Level 2 - SKU: A0.550710 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 64 pages. Jmsgu3 #47856...
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Horn - Level 2 - SKU: A0.550710 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 64 pages. Jmsgu3 #4785609. Published by jmsgu3 (A0.550710). The French Horn Choir Christmas BookChristmas Reharmonizations by James M. Guthrie. The French Horn Choir Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your Horn choir can perform the French Horn Choir Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. I & III read from the score on one stand, while the II & IV use the parts on a separate stand. The French Horn Choir Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the French Horn Choir Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the French Horn Choir Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of brasswind instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
Guthrie: The Double Reed Choir Christmas Book
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Noël
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Traditional
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James M
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Guthrie: The Double Reed Choir
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.550711 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Ch...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - SKU: A0.550711 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 64 pages. Jmsgu3 #4785741. Published by jmsgu3 (A0.550711). The Double Reed Choir Christmas BookChristmas Reharmonizations by James M. Guthrie. The Double Reed Choir Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your Double Reed Choir can perform the Double Reed Choir Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. oboes read from the score on one stand, while the Bassoon and English Horn use the parts on separate stands. The Double Reed Choir Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Double Reed Choir Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Double Reed Choir Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of wind instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
CHOPSTICKS: The Celebrated Chop Stick Waltz for 13-note Bells and Boomwhackers (Color Coded Notes)
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Sharon Wilson
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Sharon Wilson Music
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CHOPSTICKS: The Celebrated Cho
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Sharon Wilson
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SheetMusicPlus
Mixed Percussion Bells,Boomwhackers,Handbell,Handchime,Orff Instrument,Xylophone - Level 1 - SKU: A0.569889 By Sharon Wilson. By Arthur de Lulli. Arrang...
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Mixed Percussion Bells,Boomwhackers,Handbell,Handchime,Orff Instrument,Xylophone - Level 1 - SKU: A0.569889 By Sharon Wilson. By Arthur de Lulli. Arranged by Sharon Wilson Music. 20th Century,Children,Folk,Instructional,March. 46 pages. Sharon Wilson #6616395. Published by Sharon Wilson (A0.569889). This sheet music is notated for 8-note, C major diatonic scale (one octave) instruments with Handbells on one staff and Boomwhackers® on a second staff creating a 2-part instrumental ensemble (requires one set of each instrument). For most of the song, the Handbells play the melody while the Boomwhackers® keep a steady beat with three-note chords.The first 31 measures progress through the melody one time and can be used as a stand-alone performance. This first part of the arrangement is perfect for introducing new players to Bells and Boomwhackers®. Beginning in measure 32, the arrangement becomes more challenging by embellishing the melody, adding eighth notes, and alternating the chopstick theme between the parts. This second section utilizes more advanced note-reading and rhythmic skills and helps develop the ringing and whacking techniques needed for more advanced songs. Included in this set of scores is a combined score with both instrument parts on a grand staff plus a separate score for each instrument. A note and chord reference chart is also provided. To aid in the learning and teaching of this song or for use with other instruments (such as a Ukulele), chord names are included on the Boomwhackers® staff and score. In addition, a complete set of scores for 4 ringers and 3 whackers is provided. Though there are multiple combinations for the number of ringers and whackers needed for any given performance, this extra set of scores is specifically designed for 7 performers with 2 notes assigned to each player. For each ringer and whacker, the 1-staff score shows only the notes they are assigned. This alternate score format may be easier to sight-read since the only notes on the staff are the assigned notes allowing the player to focus on rhythm. This set of scores uses colored noteheads corresponding to the Boomwhackers® color scheme. Only filled noteheads (quarter and eighth notes) are used so the notes are full color and easier to distinguish (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter and eighth rests are used to help visualize the number of beats per measure. Notes used for each instrument are as follows: Bells ~ C D E F G A B C* where C* is high C, one octave above middle C Boomwhackers® ~ C D E F G B Note assignment suggestions are provided. Other suggestions and uses:* have both parts played by bells or both parts played using only Boomwhackers®* form a choir using multiple sets of bells and/or Boomwhackers® * use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groupsPermission is granted to make as many copies as needed for one family, church, school, or other performing group. Please purchase additional copies for multiple groups or organizations. Boomwhackers® is a registered trademark of Rhythm Band Instruments LLC. Used by permissionVisit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicKeywords: boomwhacker, boomwacker, boomwackers, pitched percussion, tuned percussion tubes, plastic tubes, elementary classroom music
$10.00
10,000 Reasons (bless The Lord)
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Musique Sacrée
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Matt Redman
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Kyle Pudenz
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10,000 Reasons
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ViolinVagabond Music
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding...
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Guitar - Level 2 - SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #810792. Published by ViolinVagabond Music (A0.1213599). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a solo violin wedding gig on less than 24 hours' notice, and found this song right at the top of the list. Having not played or listened to it in... a while, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of (insert current minimum price for SMP chart). While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a church service I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to worship songs wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$3.99
Guthrie: The Trombone Choir Christmas Book
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Noël
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Traditional
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James M
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Guthrie: The Trombone Choir Ch
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jmsgu3
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SheetMusicPlus
Trombone - Level 2 - SKU: A0.550705 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 66 pages. Jmsgu3 #4...
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Trombone - Level 2 - SKU: A0.550705 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 66 pages. Jmsgu3 #4777875. Published by jmsgu3 (A0.550705). The Trombone Christmas BookChristmas Reharmonizations by James M. Guthrie. The Trombone Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your trombone choir can perform the Trombone Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible. The Trombone Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Trombone Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Trombone Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of the low brass instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
Ode to Joy by Beethoven for Trombone Quintet
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Classique
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Classique
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Ludwig van Beethoven
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Ander
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Ode to Joy by Beethoven for Tr
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Woods Only, Arrangements
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SheetMusicPlus
Trombone Quintet - Level 2 - SKU: A0.1252416 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,March,Opera,Romantic Period. 14...
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Trombone Quintet - Level 2 - SKU: A0.1252416 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,March,Opera,Romantic Period. 14 pages. Woods Only, Arrangements #846386. Published by Woods Only, Arrangements (A0.1252416). This arrangement adapted for trombone quintet was written keeping the characteristics of the original work, that is, inspiring and significant to the already known choral symphony by Beethoven, indicated to be performed by young music students, who want to enter the symphonic music, moreover, it can also be used by professional musicians, for recitals, repertoire, academic presentations and didactic material. As much as it is a funeral march, it is well suited for any musical performance occasion. The transcription is faithful to the structure, with only one change in key, so that it is comfortable for all instruments in the formation, thus maintaining the essence of the striking melody, as well as using it for ensemble practice among musicians of different traditions.Beethoven's Ninth Symphony Op. 125 incorporates part of the poem An die Freude (To Joy), a hymn written by Friedrich Schiller, with the text sung by soloists and a choir in its last movement. It was the first example of a major composer using the human voice as prominently as the instruments in a symphony, thus creating a far-reaching work that set the tone for the symphonic form that was to be adopted by Romantic composers. This is the last complete symphony composed by Ludwig van Beethoven. The choral symphony, better known as the Ninth Symphony or The Ninth, is one of the best known works in the Western repertoire, considered both an icon and predecessor of Romantic music, and one of Beethoven's great masterpieces, where it was first performed on May 7, 1824, the same year it was completed, at the Kärntnertortheater in Vienna, Austria. The conductor was Michael Umlauf, the theater's music director, and Beethoven - dissuaded from conducting by the advanced stage of his deafness - was given a special place on the stage next to the conductor. It was later rearranged by Herbert von Karajan to become the anthem of the European Union in 1972, the national anthem of Rhodesia from 1974 until 1979, Rise, O Voices of Rhodesia, used the tune Ode to Joy..
$9.99
Schubert: Ave Maria for Baritone Horn & Piano
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Classique
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Franz Schubert
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James M
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Schubert: Ave Maria for Barito
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 1 - SKU: A0.552828 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards....
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Baritone Horn TC,Euphonium,Piano - Level 1 - SKU: A0.552828 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 4 pages. Jmsgu3 #3411131. Published by jmsgu3 (A0.552828). A Baritone Horn Christmas/Easter classic! Duration: 4:55 Score: 3 pg. Baritone Horn part: 1 pg. Piano reads from the score. Schubert seems to have composed this piece as a song-setting. This is because he wanted to portray a poignant emotional event from a poem. The poem was Walter Scott's The Lady of the Lake. Consequently, this song became an integral part of Schubert's Song cycle. Therefore the cycle is called: the Lady of the Lake. In the poem, Ellen Douglas is the Lady of the Lake. The lake is probably Loch Katrine in the Scottish Highlands. First of all, Ellen goes with her father to stay in the Goblin's cave. They go because he earlier refused to join in a rebellion against King James. Roderick Dhu, the chief of the rebellious Alpine Clan, marches up the mountain with his army. But before the battle, he, first of all, hears Ellen singing. She is singing a prayer calling for help from the Virgin Mary. Schubert's piece was first performed at the castle of Countess Sophie Weissenwolff in Steyregg, Austria.  Schubert dedicated the arrangement to her, and as a result, she became famous as the lady of the lake.The incipit of Ellen's song is Ave Maria which is Latin for Hail Mary. It seems like this similarity led Schubert to adapt the melody to accommodate the Roman Catholic prayer Ave Maria. Consequently, the Latin version of Ave Maria finally became more famous than the original so that consequently many believe he wrote the Latin version first. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$29.95
The Monk's Turned Topsy-Turvy
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Lori Archer Sutherland
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The Monk's Turned Topsy-Turvy
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Lori Archer Sutherland
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SheetMusicPlus
Clarinet - SKU: A0.1071177 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. Full Performance. Duration 224. Lori Archer Sutherland #4804...
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Clarinet - SKU: A0.1071177 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. Full Performance. Duration 224. Lori Archer Sutherland #4804263. Published by Lori Archer Sutherland (A0.1071177). The Monk’s Turned Topsy-Turvy is an original fantasy for clarinet choir, based on the old French-Canadian children’s song, Ah! Si mon moine voulait danser! (Danse, mon moine, danse). The title is a play on words: moine means both monk and spinning top in French. The lyrics speak of persuading mon moine to dance by offering various articles of clothing, such as a hood or cap.After a brief, yet bold, introduction, the piece jumps into a straightforward rendition of the tune. From there, the melody is repeated, bringing in other voices and added flourishes. While the tune starts to repeat a third time, it doesn’t get to finish its full statement. It’s interrupted by a run up through the ensemble into a rollicking 7/8 section.With a rhythmic accompaniment underneath, the jaunty melody begins in the third clarinets. The upper instruments take over briefly in 6/8, then the tune returns to 7/8. After a quick breather, the accompaniment introduces an upward sweep motif. This alternates with the accompaniment pattern heard at the beginning of the 7/8 section.The lower voices then take control, driving downward into a different tonality and mood. An undulating accompaniment sets a dreamlike feel, with different voices quoting fragments of the theme. The accompaniment transfers between voices throughout the section, eventually changing back into a 3/4, then a 2/4 feel, resulting in a transition back to the original feel of the piece.The low voices get the melody, with rhythmic accompaniment and racing runs throughout the other sections. The melody goes a bit topsy-turvy before the group comes together in the descending quarter note motif from the beginning of the piece, bringing us to the coda. There’s one final quote of the opening of the main theme from the low voices, leading to a whirlwind in the first and Eb with accented notes and suspensions underneath. The Eb pipes up with one last comment and the group closes out the piece.
$1.99
Kommos (Lamentation) / "When the World Moved On" - Timpani
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo ...
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Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078699. Published by Benjamin Sajo (A0.1018954). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
The Wombling Song
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Film/TV
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Mike Batt
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Michael Pilley
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The Wombling Song
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Michael Pilley Music
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SheetMusicPlus
Brass Ensemble Trombone - Level 3 - SKU: A0.746240 Composed by Mike Batt. Arranged by Michael Pilley. Film/TV. Score and parts. 11 pages. Michael Pilley...
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Brass Ensemble Trombone - Level 3 - SKU: A0.746240 Composed by Mike Batt. Arranged by Michael Pilley. Film/TV. Score and parts. 11 pages. Michael Pilley Music #5718335. Published by Michael Pilley Music (A0.746240). The theme song from the classic BBC children's TV show The Wombles, fancifully arranged for Trombone Quartet with Rhythm in a swing style. There is an optional solo section which can be opened up, and the top trombones carry most of the melody. Make the most of the glissando just before letter C, a perfect tune to showcase your trombone quartet. The tempo chosen is a little quicker than the original, which is purposefully done to enable the rhythm section to groove. Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer. More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic Follow Super Bone at https://www.youtube.com/superbonequartet, https://www.facebook.com/SuperBoneQuartet, https://twitter.comSuperBoneTweets and https://www.instagram.com/superbonequartet
$20.00
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The Last One