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Move Right Out
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86
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113
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31
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13
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11
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8
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7
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2
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2
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2
Orgue, Piano (duo)
1
2 Pianos, 8 mains
1
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Guitare
8
Guitare notes et tablatures
3
Piano, Guitare (duo)
1
4 Guitares (Quatuor)
1
Basse electrique
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 1 instrumentations
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Voix
Chorale SATB
24
Chorale 3 parties
10
Chorale TTBB
7
Chorale 2 parties
6
Voix duo
3
Voix Baryton, Piano
3
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3
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2
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1
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10
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7
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6
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5
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4
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4
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4
2 Clarinettes (duo)
4
Clarinette et Piano
4
2 Flûtes traversières (duo)
3
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3
Saxophone Tenor et Piano
3
Saxophone Tenor
3
Clarinette et Alto
2
2 Hautbois (duo)
2
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2
Hautbois, Clarinette (duo)
2
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2
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2
Flûte, Alto (duo)
2
Hautbois, Basson (duo)
2
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2
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2
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2
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2
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2
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1
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1
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1
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1
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1
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1
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1
Hautbois, Guitare (duo)
1
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1
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1
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1
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1
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1
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7
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5
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4
Trompette
4
Trombone et Piano
4
Tuba et Piano
4
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3
Trompette, Trombone (duo)
2
2 Trompettes (duo)
2
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1
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1
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1
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1
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Cor anglais et Harpe (duo)
1
3 Euphoniums
1
3 Trombones (trio)
1
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Quatuor à cordes: 2 violons, alto, violoncelle
23
Harpe
5
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5
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4
Violoncelle, Piano
3
Violon
3
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3
Alto, Piano
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3
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2
2 Violoncelles (duo)
2
2 Altos (duo)
2
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2
2 Violons (duo)
2
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2
Harpe et Piano
1
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1
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1
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1
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1
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1
Violoncelle, Contrebasse (duo)
1
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1
Contrebasse (partie séparée)
1
Alto (partie séparée)
1
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34
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22
Orchestre de chambre
15
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15
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4
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2
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1
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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Move Right Out
Violoncelle, Piano
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Suite Revelation for cello and piano
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Robert M
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Suite Revelation for cello and
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Robert M. Greenberg
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SheetMusicPlus
Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages...
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Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.
$28.00
Sorry Seems To Be The Hardest Word
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Violoncelle, Piano
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INTERMÉDIAIRE
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Rock
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Elton John
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Keith Terrett
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Sorry Seems To Be The Hardest
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Keith Terrett
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.747037 By Elton John. By Bernie Taupin and Elton John. Arranged by Keith Terrett. Pop,Rock. Score and part. 6 pages. Kei...
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Cello,Piano - Level 3 - SKU: A0.747037 By Elton John. By Bernie Taupin and Elton John. Arranged by Keith Terrett. Pop,Rock. Score and part. 6 pages. Keith Terrett #5902957. Published by Keith Terrett (A0.747037). Arranged for Cello & Piano, Sorry Seems to Be the Hardest Word is a song written by Elton John and Bernie Taupin. It was recorded by Elton John and released in 1976, both as a single and as part of the Blue Moves album. It was John's second single released by The Rocket Record Company. The song is a mournful ballad about a romantic relationship which is falling apart.The song also appeared the following year on Greatest Hits Volume II, though for copyright reasons it no longer appears on the current version of that album. It now appears on Greatest Hits 1976–1986, The Very Best of Elton John and in Greatest Hits 1970–2002, as well as a number of other compilations.The song was covered in 2002 by English boy band Blue for their second studio album, One Love (2002). The song was recorded as a collaboration with Elton John, and was the second single from the album. It peaked at number one on the UK Singles Chart on 15 December 2002 and also reached number one in Hungary and the Netherlands. It peaked within the top 10 in an additional 16 countries.In 2004, Elton John and Ray Charles performed the song on Charles' duet album, Genius Loves Company. It would turn out to be the last recording Charles ever did before his death that June. The duet was nominated for a Grammy Award for Best Pop Collaboration with Vocals. It was also performed by smooth jazz saxophonist Kenny G on the soprano saxophone featuring Richard Marx on his 2004 album At Last...The Duets Album later that year.The song was a Top 20 hit, reaching No. 11 in the United Kingdom, No. 6 in the United States and No. 3 in Canada. In addition, the song went to No. 1 on the US and Canadian Adult Contemporary charts. In the US, it was certified Gold on 25 January 1977 by the RIAA.The single was the lead single for the eight-track remix compilation Good Morning to the Night in collaboration with Australian remixer Pnau, which came out on 16 July 2012.
$9.99
Arioso from Cantata No. 156
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Violoncelle, Piano
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FACILE
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Classique
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Johann Sebastian Bach
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Aaron Sinnett
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Arioso from Cantata No. 156
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Aaron Sinnett
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.1434238 Composed by Johann Sebastian Bach. Arranged by Aaron Sinnett. Baroque,Chamber,Classical,Religious. Score and par...
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Cello,Piano - Level 2 - SKU: A0.1434238 Composed by Johann Sebastian Bach. Arranged by Aaron Sinnett. Baroque,Chamber,Classical,Religious. Score and part. 9 pages. Aaron Sinnett #1013961. Published by Aaron Sinnett (A0.1434238). Arioso is a movement from J.S. Bach Cantata No. 156 Ich Steh mit einem Fuß im Grabe. Originally, Bach composed it in F major with the oboe being the solo instrument, accompanied by strings. In the early 20th century, it was arranged for cello and piano in G major. This is a beautiful arrangement but is much too difficult for many students who desire to play great music earlier in their journey of cello learning. There is a distinct lack of great music specifically arranged for cello students who are just getting their bearings in the lower positions (up to fourth). After playing this Arioso in C major, transposing directly from the printed G major cello arrangement, I made the decision right then and there to make my own arrangement for this wonderfully sublime piece of music. Transposing it down to C major takes away all the higher positions and reduces the number of accidentals that need to be attended to, thus giving the student a slight advantage in reading the music and eventually performing it, at a higher level of competence. I have opted, in this version, to leave in all of the ornamentation and intricate rhythms found in the orignal. This version has already been tested out on several of my own students who found it compelling and exciting to be able to participate in music making of the great music composed by the master of all Western Tonal music, Johann Sebestian Bach.
$6.99
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Move Right Out
