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Violon
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Trompette, Piano
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Guthrie: 18 Descants for Trumpet & Organ
Trompette, Piano
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.1317913 Composed by Tradi…
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B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.1317913 Composed by Traditional. Arranged by James M. Guthrie. Christian,Historic,Religious,Sacred,Traditional. Score and part. 12 pages. Jmsgu3 #906595. Published by jmsgu3 (A0.1317913). Instrumental descants are useful in hymn playing as they add variety and interest to the music, and they can be used to enhance any piece of music if done correctly. An instrumental descant is a counter melody usually pitched higher than the hymn's. It is played by an instrument, usually a trumpet or a flute, with organ accompaniment. The usual form for these instrumental postludes is to play the hymn melody once through and then to play the descant. An instrumental descant always enlivens the singing of hymns, and this volume promises practicality, variety, and well-crafted countermelodies to do just that. The term descant is used to describe a countermelody, generally at a higher pitch than the main melody, and it is typically sung in the final or penultimate verse of a hymn. Although the English Hymnal of 1906 omitted descants, this influential hymnal served as a source of tunes for which the earliest known hymn tune descants were published. Among composers of descants from 1915 to 1934 were Alan Gray, Geoffrey Shaw, and Ralph Vaughan Williams.
$32.95
29.51 €
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Trompette, Piano
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Traditional
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James M
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Guthrie: 18 Descants for Trumpet & Organ
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
Trompette, Piano
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexan…
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B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499993. Published by jmsgu3 (A0.549478). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
17.87 €
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Trompette, Piano
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
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jmsgu3
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SheetMusicPlus
A Breeze from Alabama
Trompette, Piano
Trumpet, piano - Level 3 - Digital Download SKU: A0.972642 Composed by Scott Joplin…
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Trumpet, piano - Level 3 - Digital Download SKU: A0.972642 Composed by Scott Joplin. Arranged by James Siddons. Folk,Holiday,Patriotic,Ragtime. Score and parts. 24 pages. James Siddons Music and Writings #3124007. Published by James Siddons Music and Writings (A0.972642). Although published as a piano solo (1902), A Breeze from Alabama is subtitled March and Two Step and has a dedication on the cover to P. G. Lowery (Perry George Lowery, 1871-1942), World's Challenging Colored Cornetist and Band Master. Thus, A Breeze from Alabama may well have been conceived as a march for military band but published only as a piano solo. No band arrangement by Joplin is known to exist, but Joplin could have done this, as he himself was a cornetist as well as pianist, and had played cornet in bands like Lowery's many times. Drawing on this information, the present arrangement by James Siddons (2017) is based on the following assumptions: 1. A Breeze from Alabama originated as a march (in march-trio form) for military band. 2. The 1902 publication is a piano reduction of that band work. The melodic lines intended for cornet solo are generally discernible in the piano reduction. 3. A setting for piano duet (or ensemble) keeps this work in the tradition of ragtime piano while also emulating the fulsome tone colors of brass instruments to a degree that a solo piano cannot do. Thus this arrangement is not a solo-and-accompaniment setting, but a setting for large ensemble with soloist. It is collaborative music, akin to a concerto. This piano duet part may be performed by two pianists at one piano, or two pianists at two pianos, or four pianists at two pianos, or even six pianists at three pianos, with or without a conductor. The cornet part may be played on trumpet. There are three score or part versions for sale:1. The full score is for use by a conductor or instructor. An audio track (mp3, virtual sounds) is posted here.2. The piano duet (or ensemble) score has the Primo and Secondo parts shown on facing left and right pages as is standard for piano duet music. (No audio recording.)3. The cornet (or trumpet) part is sold separately and has a rehearsal recording posted, in which only the piano duet music is heard. This arrangement features a cadenza for cornet composed by James Siddons. The cadenza is found in measures 115-119 in the score and cornet part. In the rehearsal recording, there is five seconds of silence beginning 2 mins, 44 secs into the audio track. The music resumes at measure 120. To practice with the cadenza, press pause on your media player; to practice without the cadenza, simply wait the silence out.
$5.00
4.48 €
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Trompette, Piano
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Scott Joplin
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James Siddons
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dedication on the cover to P
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A Breeze from Alabama
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James Siddons Music and Writings
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SheetMusicPlus
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