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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
of its kind.
Non classifié
148
Piano & claviers
Piano seul
83
Piano, Voix
38
Piano, Voix et Guitare
17
Piano Facile
10
Orgue
10
Instruments en Do
7
1 Piano, 4 mains
3
2 Pianos, 4 mains
2
Concertina
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Orgue, Trompette (duo)
1
+ 7 instrumentations
Retracter
Guitares
Guitare
17
Ligne De Mélodie, (Paroles) et Accords
5
Guitare notes et tablatures
4
Ukulele
3
Banjo
2
Paroles et Accords
2
Basse electrique
1
Orchestre à Plectres
1
2 Guitares (duo)
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
47
Chorale 3 parties
13
Voix Soprano, Piano
8
Chorale 2 parties
7
Chorale TTBB
7
Chorale SSAA
7
Chorale Unison
4
Voix Alto, Piano
3
Voix basse, Piano
2
Voix haute
2
Voix duo, Piano
2
Voix Baryton, Piano
1
Voix Tenor, Piano
1
Voix moyenne, Piano
1
Voix duo
1
+ 10 instrumentations
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Vents
2 Flûtes traversières, Piano
25
Quatuor de Saxophones: 4 saxophones
6
2 Saxophones (duo)
5
2 Flûtes traversières (duo)
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Flûte, Hautbois, Clarinette, Basson
3
Quatuor de Flûtes : 4 flûtes
3
Clarinette et Piano
3
Flûte et Guitare
3
Flûte traversière
3
Quintette de Saxophone: 5 saxophones
2
2 Clarinettes (duo)
2
Clarinette, Guitare (duo)
2
Flûte traversière et Piano
2
Saxophone Tenor et Piano
2
Clarinette
2
Flûte, Clarinette (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Ensemble de Flûtes
2
Flûte à bec Tenor
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Violoncelle, Piano (trio)
1
Ensemble de Clarinettes
1
Saxophone Alto
1
Cor anglais, Guitare (duo)
1
Ensemble de saxophones
1
Saxophone Alto et Piano
1
+ 22 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Quatuor de cuivres: 4 trombones
3
Trompette
2
Trombone et Piano
2
2 Trompettes (duo)
2
Trompette, Trombone (duo)
2
Trompette, Piano
2
2 Trombones (duo)
2
Euphonium, Piano (duo)
1
2 Cors Anglais Et Pianoforte
1
Trombone
1
Cor anglais, Guitare (duo)
1
Tuba et Piano
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
+ 10 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
23
Harpe
11
Violon et Piano
6
Violon
4
2 Violons (duo)
4
Violon, Violoncelle (duo)
4
Violoncelle, Piano
4
Violoncelle
2
Violon (partie séparée)
2
2 Altos (duo)
2
Alto, Piano
2
2 Violoncelles (duo)
2
Violon, Alto (duo)
2
Alto seul
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon, Guitare (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 3 violoncelles
1
+ 14 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
50
Orchestre à Cordes
17
Orchestre
10
Orchestre de chambre
9
Ensemble de cuivres
8
Jazz combo
4
Ensemble Jazz
2
Marimba
2
Piano et Orchestre
1
Percussion
1
Fanfare
1
Vibraphone
1
+ 7 instrumentations
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Autres
Instruments
ACCORDEON
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CLOCHES
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COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
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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…
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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
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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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SAXOPHONE
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UKULELE
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VIOLON
VIOLONCELLE
XYLOPHONE
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Ritual Music for Rite of the Anointing (Full/Choral Score)
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Andrew Witchger
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Ritual Music for Rite of the A
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Cantor, SATB or unison voices, congregation, and keyboard - Easy - SKU: MQ.80-905-E Composed by Andrew Witchger. Instrument part. 13 pages. MorningStar ...
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Cantor, SATB or unison voices, congregation, and keyboard - Easy - SKU: MQ.80-905-E Composed by Andrew Witchger. Instrument part. 13 pages. MorningStar Music Publishers - Digital Sheet Music #80-905-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.80-905-E). One of first of its kind, encourages full active participation by assembly, choir and cantor with memorable melodies, sung prayers, and acclamations for communal anointing rite within Mass.
$2.85
Itsy Bitsy Spider for Junior String ORchestra or Piano Quintet
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Traditional children's music f
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Lauri Hämäläinen
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Itsy Bitsy Spider for Junior S
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Suomi Music
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SheetMusicPlus
Piano Quintet,String Ensemble Piano - Level 1 - SKU: A0.885871 Composed by Traditional children's music from America, France and Germany. Arranged by La...
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Piano Quintet,String Ensemble Piano - Level 1 - SKU: A0.885871 Composed by Traditional children's music from America, France and Germany. Arranged by Lauri Hämäläinen. Children,Instructional,Standards. Score and parts. 19 pages. Suomi Music #6679249. Published by Suomi Music (A0.885871). Are you searching for music for junior string orchestra with piano soloist or piano quintet?The arrangements of 11 Children's Songs for Piano Quintet gives young string students the chance to play rhythmical variations of famous children's songs. The level is suitable for students who have basic understanding of tone production and can play in tune in the 1st position.The music can be used in concerts where there will be kids in the audience, for example to get in new students for your own music school.Level of the music: easy, first positionDuration: 1.40 minThe music has been originally written for the music institutes in Espoo (Avonia Music Institute) and Helsinki (North-Western Music Insititute) where it has been used with concerts for the local kindergartens and projects with combined orchestras during the school year.
$9.99
Kinder- Symphonie (Toy Symphony): Composer: Unknown - symphonic wind/percussion
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Edmund Angerer - ascribed vari
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Ray Thompson
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Kinder- Symphonie
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 3 - SKU: A0.555864 Composed by Edmund Angerer - ascribed variously to Jos...
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 3 - SKU: A0.555864 Composed by Edmund Angerer - ascribed variously to Joseph Haydn, Leopold Mozart, Michael Haydn, and Wolfgang Amadeus Mozart and Johann Rainprechter. Arranged by Ray Thompson. Children,Christmas,Classical,Standards. Score and parts. 52 pages. RayThompsonMusic #6047585. Published by RayThompsonMusic (A0.555864). This work was long reputed to be the work of Joseph Haydn, but later scholarship suggested that it was actually written by Leopold Mozart. Its authorship is still disputed, however, and other composers have been proposed as the symphony's true author, including Joseph Haydn's younger brother Michael Haydn, who purportedly contributed movements to the work.Recent research on a newly found manuscript suggests the Austrian Benedictine monk Edmund Angerer (1740–1794) to be the author. If Angerer's manuscript (from 1765, entitled Berchtolds-Gaden Musick) is the original, the Toy Symphony was originally written not in G but rather in C. These findings, however, are disputed among scholars. There is reason to believe that the true composer will likely never be known, in whole or in part, given its confused origins and the paucity of related manuscript sources.Even without a name attached to it, the piece has become a mainstay for children's shows and Christmastime concerts. Each of its three movements features the sounds of actual toys and instruments that sound like they came straight from Geppetto's workshop. The piece calls for a toy trumpet, ratchet, nightingale, cuckoo, drum, and triangle. ( A quail makes it’s only appearance in the 2nd movement.Noisemakers rattle throughout the first of its three movements. The cuckoo and trumpet  call out mischievously during the minuetto of the second movement , and a quail joins the nightingale in the trio. In the short third mvt which is played 3 times, they all play again, each repeat faster than the previous one.The presence of the toy instruments make this a fun piece for children to play, especially when there are also some toys waiting under the tree.My arrangement is based on the Kinder-Symphonie attributed to Leopold Mozart. It is scored in C.it is in 3 mvts and is arranged for double wind quintet, bass and toy percussion.i have distributed the original strings around the woodwind, and composed original classical horn parts.Sometimes known as Children’s Symphony.
$19.95
What Kind Of Man Would I Be?
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Rock
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Chicago
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Patrick Sheehan
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What Kind Of Man Would I Be?
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.748027 By Chicago. By Chas Sandford, Jason Scheff, and Robert Caldwell. Arranged by Patrick Sheehan. Pop,Rock. Score ...
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Small Ensemble - Level 5 - SKU: A0.748027 By Chicago. By Chas Sandford, Jason Scheff, and Robert Caldwell. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 61 pages. Patrick Sheehan #5196111. Published by Patrick Sheehan (A0.748027). *This title is priced at $50 because of its overall popularity, and because it had charted as #5 in November of 1989. Keep in mind that *all* parts (vocals, horns, rhythm parts) are included in this transcription, and you cannot find it published in full score format anywhere else in the world.*INSTRUMENTATION: Lead Vocal, Background Vocal I, Background Vocal II, Tenor Saxophone (Bb), Trumpet (Bb), Trombone, Keyboard I, Keyboard II, Keyboard III, Electric Guitar I, Electric Guitar II, Bass, Drumset. All parts transcribed by ear from the original recording from CHICAGO 19, released in 1988. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$50.00
Kindred Spirits-A Musical Portrait of Scotland's Women
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Bonnie Rideout
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Kindred Spirits-A Musical Port
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Fiddle - Intermediate - SKU: M0.98278EB A Musical Portrait of Scotland's Women. Composed by Bonnie Rideout. Tunebook. 0. E-book. Mel Bay Publicat...
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Fiddle - Intermediate - SKU: M0.98278EB A Musical Portrait of Scotland's Women. Composed by Bonnie Rideout. Tunebook. 0. E-book. Mel Bay Publications - Digital Sheet Music #98278EB. Published by Mel Bay Publications - Digital Sheet Music (M0.98278EB). ISBN 9781619116689. 8.75x11.75 inches.This is a note-for-note transcription of Bonnie Rideout's Kindred Spirits recording. Bonnie Rideout is a master of the Scottish Fiddling genre. In her words, It has been my desire to create a musical portrait honoring the contributions, great and small, that women have made to the Scots culture over the centuries. Most of the music was written by men who were inspired by women. The titles portray women of all social levels. They are lovers, patrons, employers, connoisseurs, drunkards, and cheats. On the final track of the Kindred Spirits recording is an original piobaireachd (pibroch). I wrote it as a eulogy to Scots women who have passed on the legacy of honest hard work and pride in their own traditions: a legacy which has served to nourish the human spirit.
$12.99
Kind For a Day. Song
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Ted Fiorito
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Kind For a Day. Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice, ukulele - SKU: LV.9217 Composed by Ted Fiorito. Celebrities, Portraits, Masks, Optimism, Happiness. Lester S. Levy Collection. 5 pages....
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Piano and voice, ukulele - SKU: LV.9217 Composed by Ted Fiorito. Celebrities, Portraits, Masks, Optimism, Happiness. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.9217). Kind For a Day. Song. Lyrics by Lewis and Young. Music by Ted Fiorito. Published 1928 by Remick Music Corp. in New York. Composition of strophic with chorus and recitative with piano and voice, ukulele instrumentation. Subject headings for this piece include Celebrities, Portraits, Masks, Optimism, Happiness. First line reads Wanderers! a land full of wanderers.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
There's A Kind Of Hush (all Over The World)
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Rock
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Herman's Hermits
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Jim Farley
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There's A Kind Of Hush
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Jim Farley arrangementsone.com
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SheetMusicPlus
Alto Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.1270477 By Herman's Hermits. By Geoff Stephens...
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Alto Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.1270477 By Herman's Hermits. By Geoff Stephens and Les Reed. Arranged by Jim Farley. Pop,Rock,Standards. 39 pages. Jim Farley arrangementsone.com #862861. Published by Jim Farley arrangementsone.com (A0.1270477). Arranged for 7-8 piece horn band, including: Directors Score, Piano/Vocal/Chords, Guitar (chords only), Bass Guitar, Drums, Alto Sax, Tenor Sax (identical to Alto), Trumpets 1 & 2 and Trombone.ABOUT THE ARRANGER: Jim Farley has been a professional musician, arranger, composer, transcriptionist and copyist since the mid 1970's and has thousands of works, spanning various genres, in his catalogue: Musical Theater, College and High School Pep Band, Orchestra and Show Choir, Cruise Ship Performers and Las Vegas show Performers as well as dozens of classic rock horn bands throughout the U.S., Canada & Europe. Fell free to contact Jim directly if you have any music arranging needs. (key changes, etc.) His email is jfarley@arrangementsone.com and visit his website at ARRANGEMENTS ON E!
$49.99
There's A Kind Of Hush (all Over The World)
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Pop musique
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Herman's Hermits
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Zeller-Elsässer Dieter
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There's A Kind Of Hush
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Ndm-Noten
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SheetMusicPlus
Large Ensemble B-Flat Clarinet,B-Flat Trumpet,Drums,E-Flat Alto Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Percussion,Tenor Saxop...
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Large Ensemble B-Flat Clarinet,B-Flat Trumpet,Drums,E-Flat Alto Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Percussion,Tenor Saxophone,Trombone - Level 3 - SKU: A0.1127975 By Herman's Hermits. By Geoff Stephens and Les Reed. Arranged by Zeller-Elsässer Dieter. Pop. Score and parts. 15 pages. Ndm-Noten #728583. Published by Ndm-Noten (A0.1127975). Tutti-Arrangement.
$12.99
Prayer - an Adaptation of Henry David Thoreau's poem (Low Voice)
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Musique Sacrée
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Douglas Clark
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Prayer - an Adaptation of Henr
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Glass Bottom Music
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SheetMusicPlus
Small Ensemble Low Voice,Medium Voice,Organ - Level 5 - SKU: A0.1019974 Composed by Douglas Clark. Contemporary,Praise & Worship,Sacred,Spiritual. Score...
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Small Ensemble Low Voice,Medium Voice,Organ - Level 5 - SKU: A0.1019974 Composed by Douglas Clark. Contemporary,Praise & Worship,Sacred,Spiritual. Score and parts. 8 pages. Glass Bottom Music #4412749. Published by Glass Bottom Music (A0.1019974). An original setting by Douglas Clark, for organ and bass/baritone (or alto) soloist. The lyrics are an adaptation of Henry David Thoreau’s poem Prayer, or Great God, I Ask Thee for No Meaner Pelf. The piece was premiered in December 2018 by Jeremy Lees, with Andrew John Kosinski on organ, at the First United Methodist Church in Asbury Park, NJ. The final version available here, benefits from the kind advice of organists John Kosinski, Timothy Broege, and Karin Gargone. God bless.
$4.99
Treat People With Kindness
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Pop musique
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Harry Styles
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Mark Harrison
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Treat People With Kindness
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Mark Harrison
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 1 - SKU: A0.1160846 By Harry Styles. By Harry Styles, Ilsey Juber, and Jeff Bhasker. Arranged by Mark Harrison. Pop. Brass Band. 62 pages. Mark Harrison #761157. Published by Mark Harrison (A0.1160846). Treat People With Kindness The idea of this arrangement was to make it as accessible as possible for all playing standards, and singers, and lots of percussion! Treat People With Kindness is a song by British singer and songwriter Harry Styles, recorded for his second album Fine Line (2019). It was used in the 2022 M&S Christmas Advert, which my youth band, Kearsley Youth Brass Band was honoured to be part of, and inspired me to do this arrangement. This fun and easy arrangement is suitable for any ensemble, but a brass band is what I had in mind. The choir arrangement works alongside, or on its own too. There is an EASY part for beginners to play too, suitable for training band members to join the senior band perhaps? Letter G offers the chance for a big 4 bar percussion solo/breakdown, which of course could be repeated to make it longer!- 8 Part Ensemble - additional parts available on request- Bass Clef parts available on request.
$49.99
Kindle the Lights of Hanukkah
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Klezmer
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Linda Marcus and Ruth Elaine S
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Kindle the Lights of Hanukkah
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Heritage Music Press
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SheetMusicPlus
3-part choir, Any Combination of Voices, Piano - SKU: LX.15-1998H L'Had-Lik Nayr Shel Hanukkah. Composed by Linda Marcus and Ruth Elaine Schram. ...
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3-part choir, Any Combination of Voices, Piano - SKU: LX.15-1998H L'Had-Lik Nayr Shel Hanukkah. Composed by Linda Marcus and Ruth Elaine Schram. Hanukkah. Octavo. 12 pages. Heritage Music Press #e15/1998H. Published by Heritage Music Press (LX.15-1998H). UPC: 000308101690.Beginning in unison and then developing into a three-part round, this lively and extremely accessible seasonal work has a truly ethnic feel. The third part may be sung down an octave for a mixed ensemble, or sung as written for a treble group. The lyrics consist of an authentic Hebrew phrase and English translation, giving students the opportunity to learn about Hanukkah and its meaning for the families who celebrate it.
$2.50
Plateau of Dances with a Scottish Flavour
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Alexandra Lehmann
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Plateau of Dances with a Scott
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Forton Music - Digital
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SheetMusicPlus
Fl. Afl. (guit/kbd) - Intermediate-Advanced - SKU: F2.FM628 Composed by Alexandra Lehmann. A set of dances for flute and alto flute duet. Score. 6 pages...
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Fl. Afl. (guit/kbd) - Intermediate-Advanced - SKU: F2.FM628 Composed by Alexandra Lehmann. A set of dances for flute and alto flute duet. Score. 6 pages. Forton Music - Digital #FM628. Published by Forton Music - Digital (F2.FM628). ISBN 9790570485277.'Plateau of Dances with a Scottish Flavour' Plateau of Dances with a Scottish Flavour was composed in autumn 2016, Eastbourne, and is inspired by my childhood in Doune, Perthshire; as well as the Ceilidhs and Feis (cultural festival in the Highlands) my daughter, Clara, and I were immersed in when we lived in the picturesque village of Kingussie, Badenoch and Strathspey. The four dances are a celebration of my love and nostalgia for Scotland, and an expression of my family's Scottish memories. Each dance comes with a quote from my favourite poet, Robert Burns, whose insightful and sensitive observations are a poignant appreciation of everyday life. Why the reference to Scottish food? Because this piece is dedicated to my father, Papou, who appreciates a merry supper. The 1st Movement, 'To the Mighty Haggis', is a Strathspey with its characteristic Scotch snap -a short-long rhythm, as if saying the word 'haggis'; which is fitting as the Scottish bard's quote comes from his poem Address to a Haggis, traditionally said on Burns' Night. The 2nd Movement, 'The Humble Shortbread', is a Reel; as is usually the case in Scottish dances. It should be played with a slightly 'snappy', swung rhythm. 'What though on homely fare we dine, [...] A man is a man for all that' comes from my favourite Burns' poem: A Man's a Man for A' That. And who doesn't enjoy the humble shortbread? There is a more reflective, nostalgic mood to the 3rd Movement, 'Ode to the Homely (salty) Porridge'. The Air is a reminiscence of the quiet evenings Clara and I would spend in Kingussie, with our view of the beautifully haunting mountains. 'What will I get to my supper, [...] Ye'se get a panfu' o' plumpin parridge' comes from Burns' The Shepherd's Wife who tries to entice her husband back home with the promise of porridge (the Scottish way: with salt). Finally, the 4th Movement, 'Too Many Drams of Whisky', is a cheerful and lively Jig. It's the convivial merriness of being with friends and family, maybe at a Ceilidh, with a wink to Scotland's 'water of life'. 'We'll tak a cup o' kindness yet, For auld lang syne' comes from Burns' famous Auld Lang Syne: a fitting end to our musical and culinary tour of Scotland.
$7.95
Bach Chorales for Trombone Quartet Volume 2
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Classique
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Johann Sebastian Bach
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Robert Timmers
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Bach Chorales for Trombone Qua
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Gordon Cherry
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SheetMusicPlus
Trombone - Level 4 - SKU: A0.1079077 Composed by Johann Sebastian Bach. Arranged by Robert Timmers. Baroque,Sacred. 72 pages. Gordon Cherry #683278. Pub...
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Trombone - Level 4 - SKU: A0.1079077 Composed by Johann Sebastian Bach. Arranged by Robert Timmers. Baroque,Sacred. 72 pages. Gordon Cherry #683278. Published by Gordon Cherry (A0.1079077). Robert Timmers has beautifully arranged Johann Sebastian Bach's Complete Chorale Harmonizations for Trombone Quartet, Volume 2 (Chorales 146-282). This momentous collection of 434 Chorales in three volumes (volume 1 is published and soon volume 3 as well) taken from Bach's 200-plus cantatas and other choral works is a gift to the Trombone world and a major addition to the repertoire of Trombone Ensembles. This collection is the first of its kind for the instrument. The music is laid out in score format of two systems (tenor and bass) and two coil-bound books of 72 pages are provided for the performers. Appropriate for moderately advanced performers, these chorales are great for working on tonal blend, intonation, style, and phrasing. The digital sound sample below of Chorales 1-5 from Volume 1 will give you a good idea of the beauty of these arrangements for Trombone Quartet. This collection has been dedicated to the late Steve Witser by arranger and former student, Robert Timmers.
$27.50
Zap!
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Contemporain
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Christine Southworth
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Zap!
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Airplane Ears Music
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Drum Set,Guitar,High Voice,Low Voice,Piano,Xylophone - Level 5 - SKU: A0.1013064 Composed by Christine Southworth. 20th...
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Large Ensemble Cello,Double Bass,Drum Set,Guitar,High Voice,Low Voice,Piano,Xylophone - Level 5 - SKU: A0.1013064 Composed by Christine Southworth. 20th Century,Contemporary. Score and parts. 61 pages. Airplane Ears Music #5802121. Published by Airplane Ears Music (A0.1013064). Zap! (2005, 45 minutes) for Van de Graaff Generator, Lyricon, voices, guitar, cello, bass, percussion, piano, robotic xylophone and electronics. The sound of electricity at its rawest and most majestic - sparks, booms, lightning bolts, sizzling corona and low hums from giant motors - intermingle with the sounds of cello, bass, guitar, piano, clarinets, percussion and voice. Christine Southworth created Zap! in 2004 to explore these possibilities, using the Boston Museum of Science's Theater of Electricity as her venue and instrument. Its centerpiece - MIT Professor Robert Van de Graaff's eponymous Generator, was born in 1931 as one of the world's largest atom smashers. It is still the largest of its kind in the world, standing forty-feet tall and producing up to 1.5 million volts of electricity. Zap!, a composition in seven parts, takes the sounds of this machine, two large Tesla Coils, and a Jacob's Ladder, merged with rock rhythms and sweet melodies performed by Robert Black, David Cossin, Felix Fan, Philippa Thompson, Eddie Whalen, & Evan Ziporyn. The resulting music is ... electrifying!Premiered February 4, 2005 at Boston Museum of Science by Ensemble Robot, Jeff Lieberman (guitar), Blake Newman (bass), Sachi Sato (keyboard), Mei-mi Lin (keyboard), Akili Haynes (percussion, voice), Erik Nugent (Lyricon, voice), Rebecca Zook (cello), Christine Southworth (voice, Van de Graaff controls), Leila Hasan (Van de Graaff controls), Giles Hall (robot controls).About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$20.00
Strauss - Zueignung from Acht Gedichte, op. 10 - Small Hand Edition (A major, medium key)
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Strauss - Zueignung from Acht
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Nicole Elyse DiPaolo
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SheetMusicPlus
Medium Voice,Vocal Solo - Level 5 - SKU: A0.1328293 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Perio...
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Medium Voice,Vocal Solo - Level 5 - SKU: A0.1328293 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #916286. Published by Nicole Elyse DiPaolo (A0.1328293). The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,†from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small†is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding†(erroneously labeled “simplified†on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!
$6.95
Strauss - Zueignung from Acht Gedichte, op. 10 - Small Hand Edition (G major, low key)
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Strauss - Zueignung from Acht
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Nicole Elyse DiPaolo
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SheetMusicPlus
Low Voice,Vocal Solo - Level 5 - SKU: A0.1328327 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. ...
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Low Voice,Vocal Solo - Level 5 - SKU: A0.1328327 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Romantic Period. 3 pages. Nicole Elyse DiPaolo #916320. Published by Nicole Elyse DiPaolo (A0.1328327). The first of its kind, and the first entry in the Accessible Accompaniments library’s collection of small-hand-optimized song literature publications, this is Richard Strauss’s beloved “Zueignung,†from Acht Gedichte, op. 10 (1885), optimized (but not simplified) for the needs of collaborative pianists with small hands. “Small†is generally understood to be just an octave in span, with limited capacity to grab chord tones within a blocked octave aside from the occasional inner fifth.This edition was inspired by Boosey’s excellent small-hand edition of Frank Bridge’s “Love Went A-Riding†(erroneously labeled “simplified†on the front matter), which thins the large chords that would be problematic or impossible for a barely-an-8ve-reach collaborative pianist to play without adding musically inappropriate rolls or breaks, but also preserves the musical content and grammatically accurate voice-leading. Given that Strauss’s op. 10 collection is much more widespread on today’s concert programs than the Bridge, and given that average conservatory pianist heights and hand sizes have dropped significantly in the 20th and 21st centuries, the need for a similar adaptation in at least some of the op. 10 songs is obvious. Additionally, Strauss’s songs are often so orchestral in spirit—much more so than the Bridge—that the instinct to treat them as orchestral reductions to be adapted by each individual player should be as self-evident and considered as musically appropriate as it would be for any of Strauss’s beloved horn concerti. Performers should feel free to insert their own adaptations, additions, and omissions to this score as needed.The primary source material for this edition is Henle’s edition of the Acht Gedichte. However, any proprietary material that is not public domain (like their fingerings, front matter, and critical notes) is left out of this edition, leaving only what is public domain and edited by Ms. DiPaolo. Unreasonably large chords and arpeggio figures that would require being reachable by a larger hand have been condensed into figures more appropriate for the just-an-octave hand without sacrificing technique and excitement. This edition makes minor improvements to the engraving, like removing syllabic beaming in the voice and adding octave lines when appropriate. This edition also uses Accessible Accompaniments’ distinctive house style, marked by its visual beauty and ease of reading.While this song will be published in low, middle, and high keys for your convenience, please feel free to request another transposition if you are purchasing from a site that does not offer automatic transposition or you don’t see the key that you need. As the name says, Accessible Accompaniments is committed to accessibility—and that goes for singers, too!
$6.95
CANE: Bassoon Concerto with Reed Quintet
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Contemporain
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Jenni Brandon
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CANE: Bassoon Concerto with Re
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Jenni Brandon Music
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - SKU: A0.918692 Composed by Jenni Brandon. Contemporary. Score and parts. 185 pages....
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Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - SKU: A0.918692 Composed by Jenni Brandon. Contemporary. Score and parts. 185 pages. Jenni Brandon Music #6451541. Published by Jenni Brandon Music (A0.918692). The first concerto of its kind, CANE: Bassoon Concerto with Reed Quintet (Oboe, B-Flat Clarinet, Saxophone, Bass Clarinet, Bassoon) by Jenni Brandon tells a dramatic story of one bassoon reed’s journey from its origins as raw, organic cane, to the final joy of playing on the finished reed. The colors of the reed quintet and the virtuosic solo bassoon intermingle in this through-composed piece to take the listener through this vivid experience. Rhythm, lyrical lines, extended techniques, Afro-Cuban style music, jazz and fugue join together to remind us that this is an organic process. From making reeds to making music, we come together to create performance. Ever changing and ever evolving, every reed and every performance is unique, and Cane promises to tell this story in a powerful and exciting new way. Co-Commissioned by the Akropolis Reed Quintet and Dr. Christin Schillinger.There are several sections in this through-composed work, taking us on a journey that is the life of a bassoon reed: I. Split: short and percussive, like splitting cane II. Gouge: Rhythmic, steady and driving. Removing and leaving… III. Shape IV. Profile: Mechanical, with a little bit of mischief V. Form: The cane becomes a reed (Internal/external sounds of transition) VI. Scrape: In the style of Afro-Cuban music VII. Playing the reed: Swing, sassy; thoughtful, reflective; with reverence; the reed plays…Duration approximately 24 minutes
$80.00
"Or la tromba in suon festante" from Handel's "Rinaldo"
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Classique
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George Frideric Handel
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Matthew Ryan Ross
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"Or la tromba in suon fes
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Matthew Ryan Ross
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SheetMusicPlus
Small Ensemble High Voice,Medium Voice,Piano Accompaniment,Trumpet - SKU: A0.904699 Composed by George Frideric Handel. Arranged by Matthew Ryan Ross. B...
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Small Ensemble High Voice,Medium Voice,Piano Accompaniment,Trumpet - SKU: A0.904699 Composed by George Frideric Handel. Arranged by Matthew Ryan Ross. Baroque,Opera. Score and parts. 5 pages. Matthew Ryan Ross #3364749. Published by Matthew Ryan Ross (A0.904699). Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.This aria, from Act III of the original 1711 production, is arranged for trumpet, piano, and voice, this arrangement embodies the full orchestral feel of Handel's famous aria as well as creating the most efficient performance mark up for the voice. This arrangement is the only one in existence of its kind and is sure to make an amazing addition to your vocal performance repertoire whether you are an aspiring student or a seasoned opera vocalist.
$3.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
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Classique
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Classique
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implaca
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Nicole Elyse DiPaolo
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SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pa...
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95
Grand Nonetto
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Louis Spohr
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Grand Nonetto
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Flute, oboe, clarinet, bassoon, horn, violin, viola, cello and double bass - SKU: S9.Q52998 Composed by Louis Spohr. This edition: set of parts. Downloa...
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Flute, oboe, clarinet, bassoon, horn, violin, viola, cello and double bass - SKU: S9.Q52998 Composed by Louis Spohr. This edition: set of parts. Downloadable, Set of parts. Op. 31. Musikverlag Robert Lienau - Digital #Q52998. Published by Musikverlag Robert Lienau - Digital (S9.Q52998). Louis Spohr (1784-1859) was one of the most important musicians of the 19th century, a renowned concert violinist and teacher, composer and conductor. His Nonet in F major Op. 31 was the first of its kind and commissioned by the Viennese merchant and violinist Johann von Tost. The premiere aroused so much enthusiasm that the nonet had to be repeated several times in the season.
$21.99
Concerto for Trumpet, 9-part Brass Ensemble & Timpani
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Classique
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Franz Joseph Haydn
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Justin Bland
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Concerto for Trumpet, 9-part B
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Gordon Cherry
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SheetMusicPlus
Large Ensemble Baritone Horn TC,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792616 Composed by Franz Joseph Haydn. Arranged by Justin Bland. Baroque,Class...
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Large Ensemble Baritone Horn TC,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792616 Composed by Franz Joseph Haydn. Arranged by Justin Bland. Baroque,Classical,Concert,Romantic Period. Score and parts. 151 pages. Gordon Cherry #5040955. Published by Gordon Cherry (A0.792616). Haydn's Concerto for Trumpet (Concerto per il Clarino) in E-flat major was written in 1796 for his friend Anton Weidinger. Weidinger invented a keyed Trumpet which could play chromatically. The Concerto is the first of its kind because of this new technique and Haydn includes melodies and scales in the middle and low register, unknown to the earlier valveless instruments. The work is in the traditional three movements, Fast-Slow-Fast exploiting scales, arpeggios, trills, legato and marcato techniques. Justin Bland has skillfully arranged this great work for Solo Trumpet, 9-part Brass Ensemble and Timpani. Instrumentation is: Solo Trumpet in E-Flat, Trumpet in E-flat, 2 Trumpets (Cornets) in B-flat, Flugelhorn, Horn, 2 Trombones, Euphonium, Tuba and Timpani. The work is appropriate for advanced performers.
$77.50
Celtiberian Fantasy For Harp and Strings
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Luis Anjos Teixeira
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Celtiberian Fantasy For Harp a
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889414 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and...
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Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889414 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 40 pages. Luis Anjos Teixeira #3478441. Published by Luis Anjos Teixeira (A0.889414). Celtiberian Fantasy For Harp And Strings written for the - 2018 Chamber Music Contest Entry. Dear music Lovers and Friends. Celtiberian Fantasy was designed to be performed by a group of five artists, or even seven, nine, one thousand or more! Any kind of diatonic Harp can be used to perform this piece. The harp part can also be performed as a solo piece. When performing the piece solo and according to the size of the harp or the needs of the artist of course, it is possible to transpose the left hand part an octave lower and to open many of its chords or adding a bass without damaging the caracter of the music. When playing the harp with the rest of the ensemble it might be better to perform it mostly as it is written. The double bass is a soloist but it can be reenforced with a cello. Otherwise the cello joins the ensemble only in the „Tutti. However in the absence of a Double bass, than should the cello take its part. A Cello should always be present in the case that a little stringed orquestra performs the piece. It is a perfect piece for a mixed group of early beginners and „early soloists, it is very easy to perform by experienced artists. It can be played by a group of five artists, as well as a complete string orquestra with harp. Some interpretation symbols where used in the score as a performance suggestion. Most of the score is left virgin to the interpretation of the artists involved, particularly the use of bowing and fingering. It is a very flexible piece that can be used in all kinds of events. The score For the 2018 Chamber Music Contest Entrywas written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was produced with samplers from Garritan, conceived as an audio support for the presentation of the score. It is a Harp Quintet with a Double Bass instead of a Cello. Another audio version with the full orquestra will be found in sound cloud at „Anjos Teixeira Music. Thank you very much for taking your time to read this text and to listen to the file. This is the first time that it has been published in Sheet Music Plus. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Thanks to Stray Queen Mimi for my Family, all the Love and Compassion. Special thanks to my feline Family for all the Patience, Love and Compassion. Luis Anjos Teixeira
$28.99
Brass Sextet - Allegro Spiritoso
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Contemporain
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Mike Lyons
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Brass Sextet - Allegro Spirito
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Lyons Music Services
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767547 Composed by Mike Lyons. Contemporary. Score and parts. 32 pages. Lyons Music Servic...
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.767547 Composed by Mike Lyons. Contemporary. Score and parts. 32 pages. Lyons Music Services #5743867. Published by Lyons Music Services (A0.767547). Allegro Spiritoso came about in response to the Covid-19 lockdown. I had been looking for inspiration for a new brass piece and these ideas finally gelled into this single movement work. The opening requires controlled flutter tonguing from the trumpets and glissandos from both the horns and the trombone. This first set of ideas are angry and frustrated, coming in sharp and bitter contrasts between the fluttering of the trumpets and the repetitive semitone on the tuba. Although in F (concert) this section really doesn't have a key centre. Each outburst instead uses a set of pitches ultimately derived from the Gregorian chant of the Dies Irae which appears later in the piece.I imagined how it must feel to be trapped in the house for weeks on end by the lockdown and the fear of catching the virus, combined with the lack of any real leadership from the British government. The interlocking tuba, trombone and horn rhythms (occasionally passed to 2nd. trumpet) drive the music forward and represent, in a way, the mutating virus which underlies all the troubled emotions caused by the lockdown itself and the feelings of isolation and, indeed, abandonment which many people feel.Half way between letters B and C, the trombone plays a kind of distorted motif reminiscent of a Chorale melody which leads us into a section devoted to those who have died (and continue to die) because of the disease. From letter C to the end, the main melodic motifs come from the Dies Irae, part of the Catholic Mass for the Dead (Requiem). Stated first in the Trumpets, the Tuba takes over the melody in augmentation with fragments passed around the ensemble with interjections from the angry motifs of the first section.Finally, the music begins to quieten and work towards the finish. The Dies Irae melody is reduced to a kind of skeleton of itself (all repeated notes removed) which ends the piece over the tuba/horn ostinato. The whole piece is 2 minutes and 57 seconds long and is - though quite by accident - an exact multiple of 19 bars long (114).It's a very dramatic and angry piece and therefore is quite dissonant. Maybe not to everyone's taste, but well worth a listen.
$25.00
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
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