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The Trombonist's Toolkit Method book
Bass Trombone,Tenor Trombone,Trombone Solo - Level 4 - Digital Download SKU: A0.810966
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Bass Trombone,Tenor Trombone,Trombone Solo - Level 4 - Digital Download SKU: A0.810966 Composed by Brink, Philip. Instructional,Standards. Individual part. 134 pages. Gordon Cherry #4286489. Published by Gordon Cherry (A0.810966). Philip Brink has spent his entire career building the knowledge to assemble this major book on the pedagogy of the Trombone. Below are his words to describe what the book entails. Trombonist’s Toolkit was conceived as exactly that: a resource for troubleshooting one’s playing, for working out problems, for advancing one’s playing skills. It is NOT a method in the traditional sense – no weekly lessons, no planned schedule for arriving at a certain point after a year, two years, etc. The player [you, the reader] can search the topic list for specific problems in need of solution. Most of the topics are organized by general subject areas: air, embouchure, range building, etc. The source for most of what I write is my own personal experience as student, teacher, freelancer and orchestral performer. I owe a great debt of gratitude to teachers, mentors, colleagues and students past and present, for listening to my playing, trying out my concepts, putting up with my questions and so forth. Some of those people are present, some are far away, and sadly, some are no longer living. To all of them I say Thank you, and I hope those of you who read this can recognize what you told me! A word about the organization of the book: most of the concepts requiring practice and/or a physical approach are written out in a special manner; explanatory text is interspersed with exercises detailing a gradual approach to the topic at hand. The appendix contains a number of exercises all together, most of which were developed for my class at Mahidol University College of Music in Thailand. Philip Brink - 2019
$35.00
31.48 €
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Brink, Philip
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The Trombonist's Toolkit Method book
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Gordon Cherry
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SheetMusicPlus
Contrabass Clarinet Quarter-Tone & Altissimo Fingering Chart for Leblanc, Selmer & Eppelsheim
Bass Clarinet,Instrumental Solo - Digital Download SKU: A0.1309189 Composed by Jaso…
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Bass Clarinet,Instrumental Solo - Digital Download SKU: A0.1309189 Composed by Jason Alder. 20th Century,21st Century,Instructional. Individual part. 51 pages. AMA Editions #898361. Published by AMA Editions (A0.1309189). The most comprehensive fingering chart for contrabass clarinet, with separate charts for Leblanc, Selmer & Eppelsheim extended range contrabass clarinets. It contains over 150 fingerings for each model over a five-and-a-half octave range in quarter-tones from written C3 to Bâ™8.Author's Notes:Following the success of my clarinet and, in particular, bass clarinet quarter-tone and altissimo fingering charts, I have produced new charts for contrabass clarinet. The focus of these has been the extended range low C models produced by Leblanc, Selmer, and Eppelsheim. Due to the non-standardized design and keywork functionality of these instruments, completely separate charts are required for each model. Players with low Eâ™ models such as those by Vito and Leblanc may also find these as a useful starting point to discover necessary fingerings, however, they have not been tested on these instruments.One striking difference of the contrabass clarinet fingering charts to those previously for clarinet and bass clarinet is the lack of quarter-tone fingerings in the chalumeau and clarion registers. The reason for this is that suitable fingerings are just not available in this range. Fingering changes can result in timbral and microtonal changes, but in the contrabass register the pitches are too far away from each for effective true quarter-tone fingerings. If quarter-tones are needed in this range, a combination of fingering, embouchure, and voicing adjustments need to be made. As this introduces far too many personal variables, it is ineffectual to create fingerings for them. The upper register is far more flexible, however, so the quarter-tones begin there.
$16.00
14.39 €
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Jason Alder
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Contrabass Clarinet Quarter-Tone & Altissimo Fingering Chart for Leblanc, Selmer & Eppelsheim
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AMA Editions
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SheetMusicPlus
Song of the Childless
Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.5…
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Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.576279 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 4 pages. David Warin Solomons #15653. Published by David Warin Solomons (A0.576279). This song was inspired by my initial reactions to the realization that I am infertile. In my case this was due to Kallmann's syndrome I am now perfectly happy with my infertility, after all, there is much else to do in the world and Dawkins' selfish gene can simply go spin its plot elsewhere: my children are my compositions, and they populate the world in their own way with joy, humour and thoughtfulness... wherever they will... ... However, I know there are many who are not happy with childlessness, so I dedicate this song to them ....and to my past self. The sound sample is my own performance. Here are the words: Learn this my child, who never hears my word Your luck is out, you are but but a poem deaf to change You are a romantic ramble on absurd round which the childless brain desires to range Hear this my daughter, blind to loveliness Your love is mine, untouchable, unknown to all Save to a song befitting her distress Whom Sappho loved but answered not her call See this my eunuch, watching others` joy Your luck was in, your luck was in You threw it far away, too far away for its return Save to another and another boy while I look on, unmoved as from a star Taste this my tears grown cold Resigned and pure Your love is his I know not whose nor do I care Yet love I would, and yet cannot be sure that another`s love could now be mine to share Warm this my heart These strings beget my child Their luck is in Their love is mine So close, my son! My daughter`s breath sings Through my fingers styled Sings to herself All other children shun © David W Solomons Video:https://www.youtube.com/watch?v=NOB34ds34Tk
$11.00
9.89 €
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David Warin Solomons
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Song of the Childless
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David Warin Solomons
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SheetMusicPlus
Tremors of Krakatoa
Woodwind choir - Digital Download SKU: IZ.CMS181 Composed by Judith Katz. Score and…
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Woodwind choir - Digital Download SKU: IZ.CMS181 Composed by Judith Katz. Score and Parts. 48 pages. Imagine Music - Digital #CMS181. Published by Imagine Music - Digital (IZ.CMS181). 9 x 12 in inches.With tremors that started in May of 1883, the volcano on the Indonesian island of Krakatoa fully erupted on August 26th of that same year. The eruption continued until the late morning of August 27th, destroying over 70% of the island, the surrounding archipelago, and collapsed into a caldera.This event is counted as one of the deadliest and most destructive events in recorded history. Over 36,000 deaths were the result of both the eruption and the tsunamis that were created. Weeks later, the eruptions on Krakatoa intensified, causing explosions on neighboring islands. Globally, these explosions had effects on Australia and as far away as South Africa.The 1883 Krakatoa eruption also darkened the sky worldwide for years afterwards, caused by volcanic ash. Spectacular sunsets were created and they inspired artists to capture the effects. British artist William Ashcroft made numerous color sketches, attempting to capture the look of the red-tinged skies, and there is a theory that Edvard Munch's blood-red sky depicted in the painting, The Scream, was inspired from his observing the color of the sky over Norway at the time.Of all the original compositions and arrangements that I have written, this is my first foray into program music. Program music can be a difficult genre; has the story really been conveyed? Does the orchestration fit the composition? Is it too short, or rather, way too long.I decided to write this for woodwind choir, rather than woodwind quintet. The sound of a woodwind choir offers enough variety of sound to convey both the frenetic quality of panic, fear, and desperation of a volcanic eruption, and yet the calm, sadness of how people felt, not knowing when things were going to erupt again.
$32.00
28.78 €
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Judith Katz
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Tremors of Krakatoa
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Imagine Music - Digital
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SheetMusicPlus
English Autumn
Small Ensemble,Strings Clarinet - Level 5 - Digital Download SKU: A0.913624 Compose…
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Small Ensemble,Strings Clarinet - Level 5 - Digital Download SKU: A0.913624 Composed by James Marshall. Contemporary,Folk. Score and parts. 87 pages. James Marshall Music #6096869. Published by James Marshall Music (A0.913624). English Autumn was composed in Fall/Winter 2018-2019 for Clarinetist Allison Eales commissioned by the Gregynog . Scored for Clarinet in A and String Trio it reflects the collage of Autumn colors: Green, Yellow, Brown shades of first Autumn; Red, Orange of Autumn at its peak. It followed my English Sonatina for young clarinetists premiered by Alison Eales and Anna de Hair in London in January, 2019, and was premiered in London in October, 2019. This piece reflects the heightened emotions of fiery intensity reflected in the changing of the colors of the leaves in Autumn. Reflected as well is the serene beauty before the Autumn arrives, and the resignation of the eternal cycles of nature. The opening section (Andante) evokes the feeling of nostalgia and assurance of the inevitable cycle of nature. We know the life will go from the tress only to return again next season. We feel the joy of the intense colors of the foliage, and the sadness of the loss of life in winter. This section segues into Green (Adagio cantabile) with pastoral music and quotes of The Water is Wide and I pass all the hours in a shady grove of Pelham Humphrey. This leads into Red (Allegro con fuoco/Presto), followed by Orange (Declamando) as well as absence of color when the leaves all fall. I pass all the hours is a song by Pelham Humphrey with words by Charles II: I pass all the hours in a shady grove …When I see the print of her shape in the green…I think there’s no hell like loving too well, The melody is incorporated because it is the same melodic motif of the Scherzando movement of my English Sonatina for young clarinetists which Alison Eales and Anna de Hair premiered. I discovered it after composing that piece in researching English folk songs to refer to in this piece. It is an ideal segue into the Allegro con fuco/Presto music. The final section (Andante cantabile) is my personal melodic sequence from the rising motif of Over the hills and far away.
$19.99
17.98 €
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James Marshall
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English Autumn
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James Marshall Music
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.2 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
When the World Drops In to Town
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital…
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Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital Download SKU: A0.1105258 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 233. David Kai #708518. Published by David Kai (A0.1105258). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song features the use of an Ugly Stick, a traditional Newfoundland percussion instrument. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! “Take it all to help the plane people, it’s the least that we can do!†Aunt Winnie baked two dozen of her partridgeberry pies She said, “I think those plane people will be in for some surprise!†So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:.
$1.99
1.79 €
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David Kai
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David Kai
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When the World Drops In to Town
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David Kai
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SheetMusicPlus
Now the Dove Flies
Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.1008082 Compo…
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Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie Tyler #4607671. Published by Connie Tyler (A0.1008082). This piece, for soprano and alto duet with piano and flute, speaks of the persistence of the dove, the peace maker, faced with war, famine, poverty, etc. It was written when the United States went to war with Afghanistan and Representative Barbara Lee stood up and was the lone voice against war. Although the piece is secular, the use of the symbol of the dove would work well in religious services.The piece involves a two against three rhythm which suggests the difficulties the dove faces flying for peace against the overwhelming odds of war. The .mp3 file is computer generated with choral oohs for the voices. The words are:Now the dove flies, sails the war-torn skies,feels the wind rip through her wings.Tossed and turned now, cries of war howl,tear-ing through her, and she still sings. Sings to march-ers on crowd-ed streetssing-ing songs of love and songs of peace.Tips her wings to those who dare stand tall,speak re-sound-ing no's in hal-lowed halls. They say that that sin means to miss the mark.I have so man-y times aimed in the dark.We fail in lit-tle ways, be-tray our friends.It was-n't planned that way.Dis-trac-tion leads to e-vil ends. The sha-dow fear clouds our at-ten-tion.Mind falls a-stray in-to dis-sen-sion. Ig-no rance can twist the dartand then it falls far from the mark. Na-tions, too, a-stray our free-doms bend‘til some have bombed away all chance at friends. We see glo-ry mag-ni-fied.Shout our prais-es to the to the skies.Build our mon-u-ments to our wars,for-get-ting the needs of of weak and poor. And still the dove flies while the earth criespol-lu-ted with more de-bris of war.Child-ren sick now, soldiers cry foul!Dove is weep-ing and yet she hums. Hums to child-ren who diede-spite moth-ers' deep cries.Sings to young who march to war,de-spite fa-thers' out-raged roars.Wings o-ver fa-mine and drought,pol-lu-ted wa-ter, pol-lu-ted ground.Folds us un-der her down-y breast.Warms us in her gen tle nest. Yes, the dove flies. Sails the wa- torn skies.Feels the wind rip through her wings.Tossed and turned now cries of war howltear-ing through her and yet,and yet she sings. For more information or possible revisions contact Connie Pwll Walck Tyler at connie@deephum.com. You can also find out more about her work at www.deephum.com. The words are:
$8.00
7.2 €
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Connie Pwll Walck Tyler
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Now the Dove Flies
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Connie Tyler
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SheetMusicPlus
Madrigal Pavane / Timburibá
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. A…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
7.15 €
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
Four Favorite Hymns from the Movie - "Stars In My Crown"
Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - Digital …
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Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robinson, John Wyeth. Arranged by Ginny Saltzman. 19th Century,Christian,Praise & Worship,Religious. 12 pages. Ginny's House of Music #780380. Published by Ginny's House of Music (A0.1180477). These are the 4 hymns in the colorized movie Stars in My Crown.(1) Will There Be Any Stars in My Crown? - An old favorite simplified hymn arrangement on Late Elementary-Early Intermediate Level, in the Key of G, with lyrics and Guitar chords included. From the scriptures Daniel 12:3 And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever. 1 Peter 5:4 And when the chief Shepherd shall appear, ye shall receive a crown of glory that fadeth not away. 1 Thessalonians 2:19-20 For what is our hope, or joy, or crown of rejoicing? Are not even ye in the presence of our Lord Jesus Christ at his coming? For ye are our glory and joy.(2) Shall We Gather At The River? - An old favorite hymn with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and Guitar chords. Very special arrangement with duet notation using the Violin and Flute. From the scriptures Revelation 22: 1 And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. 2 In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.(3) Beulah Land - An old favorite hymn with simplified Late Elementary - Early Intermediate Level Piano Accompaniment, Lyrics, in the Key of G. From the scriptures Deuteronomy 8: 7 For the Lord thy God bringeth thee into a good land, a land of brooks of water, of fountains and depths that spring out of valleys and hills; 8 A land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil olive, and honey; 9 A land wherein thou shalt eat bread without scarceness, thou shalt not lack any thing in it; a land whose stones are iron, and out of whose hills thou mayest dig brass. 10 ¶ When thou hast eaten and art full, then thou shalt bless the Lord thy God for the good land which he hath given thee. Isaiah 33:17 Thine eyes shall see the king in his beauty: they shall behold the land that is very far off.(4) Come Thou Fount of Every Blessing - An old favorite hymn in the Key of C, with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and additional melody with the Bb Clarinet. From the scriptures 1 Corinthians 15:10 But by the grace of God I am what I am: and his grace which was bestowed upon me was not in vain; but I laboured more abundantly than they all: yet not I, but the grace of God which was with me.1 Samuel 7 :12 Then Samuel took a stone, and set it between Mizpeh and Shen, and called the name of it Eben-ezer, saying, Hitherto hath the Lord helped us.
$7.99
7.19 €
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John R
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Ginny Saltzman
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Four Favorite Hymns from the Movie - "Stars In My Crown"
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Ginny's House of Music
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SheetMusicPlus
Pluto ... Lord of the Underworld (2005) for large orchestra
Small Ensemble - Level 4 - Digital Download SKU: A0.869210 Composed by Thomas Oboe …
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Small Ensemble - Level 4 - Digital Download SKU: A0.869210 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 39 pages. Thomas Oboe Lee #2016283. Published by Thomas Oboe Lee (A0.869210). Instrumentation: 3333-4331-timp-2perc-cel-hp-strings Program Notes: When Charles Ansbacher, music director of the Boston Landmarks Orchestra, commissioned me to write Pluto as a grand finale for The Planets by Gustav Holst, I immediately thought of Pluto, the Disney character; but common sense took over when I sat down to work. So instead of Disney’s faithful dog, I gravitated to the Pluto of Roman mythology. After a long battle with the Titans, the three brothers, Zeus, Poseidon and Pluto, divided the world among themselves. Zeus had the sky; Poseidon, the sea; and Pluto, the Underworld. According to mythology, the spirits of the dead, whether good or bad, enter the Underworld. Cerberus, a vicious three-headed beast, stands guard at the entrance - preventing the living from entering the world of the dead. The movement begins with a fanfare: Cerberus at the gates of the Underworld. Then a grand waltz materializes in the bass: Pluto dances!! As the waltz fades away, a lyrical tune emerges: Persephone, the wife of Pluto, appears. The work ends with a reprise of the opening fanfare, slightly altered.
$9.99
8.99 €
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Thomas Oboe Lee
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Pluto ... Lord of the Underworld
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Thomas Oboe Lee
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SheetMusicPlus
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