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Me and My Shadow
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Vous avez sélectionné:
Me and My Shadow
Orchestre d'harmonie
Partitions à imprimer
3 partitions trouvées
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Me And My Shadow (folio Only)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Al Jolson, Billy Rose, and Dav
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James Symington
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Me And My Shadow
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James Edward Ernest Symington
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1039140 Composed by Al Jolson, Billy Rose, and Dave Dreyer. Arranged by James Symington. Broadway,Film/TV,Jazz,Musical/...
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Concert Band - Level 4 - SKU: A0.1039140 Composed by Al Jolson, Billy Rose, and Dave Dreyer. Arranged by James Symington. Broadway,Film/TV,Jazz,Musical/Show,Standards. Score and parts. 40 pages. James Edward Ernest Symington #644107. Published by James Edward Ernest Symington (A0.1039140). Me and My Shadow is a 1927 popular song. Officially the credits show it as written by Al Jolson, Billy Rose, and Dave Dreyer, with Jolson and Dreyer being shown on the sheet music as being responsible for the music and Rose the lyrics. Al Jolson was often given credits on sheet music so he could earn more money by popularising them, but he played no actual part in writing this song. Jolson never recorded the song although he did use it in the touring version of Big Boy in 1927. Popular recordings in 1927 were by Whispering Jack Smith, Nat Shilkret (vocal by Johnny Marvin) and the separate recording by Johnny Marvin himself for Columba Records. The song became particularly associated with Ted Lewis who used it to close his act. The song has since become a standard, with many artists performing it. This is an arrangement for vocal duet and Symphonic Wind Band.
$49.99
Nordic Movement 1: Ginnungagap
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Orchestre d'harmonie
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FACILE
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Aric Noble
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It
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Nordic Movement 1: Ginnungagap
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Aric Noble
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1025077 Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric No...
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Concert Band - Level 2 - SKU: A0.1025077 Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric Noble (A0.1025077). Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that withquotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give2 of the other themes to foreshadow it. It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make because in mythology, Surtr, also referred to as Surt, is the fabled fire giant who destroys Asgard. No one knows where hecomes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time forging his sword to burrow into Asgard. I used a break drum to symbolize a hammer hitting an anvil to forge a sword, a lingering sound of Surtr's destiny.After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flipsit to be mo.
$24.99
Monody
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Christian F
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Stephen Cai
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Monody
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Stephen Cai
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Vid...
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Concert Band - Level 4 - SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Video Game. Score and Parts. 66 pages. Stephen Cai #876297. Published by Stephen Cai (A0.1285185). Monody - TheFatRat (Christian F. J. Buettner) arr. Stephen Cai for Concert BandProgram Notes:MUSIC As a sequel to Pigstep by Lena Raine and Exodus by Ernest Gold, I have decided to take on the challenge of arranging the ever-famous glitch hop song, Monody by Christian Buettner (known more prominently by his online alias, TheFatRat).Similarly to Pigstep, my first arrangement, I ran into the challenge of instrumentation, as Monody’s original soundtrack almost entirely consisted of electronic instruments. However, I used the same technique I did with Pigstep to overcome this problem: assign basslines to low brass, treble melodies to mid-range instruments, and high parts to upper woodwinds. Unlike Pigstep, Monody pushed me to be more creative with the percussion section, as I had to puzzle out recreating all of the numerous sound effects throughout the piece with traditional percussion instruments. I even decided to notate a conch shell line for the war horn present at the beginning and the coda! At the end, however, it all came together nicely, and I came to realize that both this song and the process of arranging it represent a journey, albeit in different contexts. The word “Monody†refers to, in a literal sense, a song sung to mourn one’s death, which accordingly fits with my view of the piece as a journey where the narrator loses their companion. Writing the introduction measures (M.22) carried me through the genuine feelings of embarking on a mythical undertaking as the original soundtrack intends to portray. The lively middle section (M.70) was enjoyable to write as well, because the music itself is upbeat and full of energy. Finally, arranging the solo section was probably my most memorable experience. The slow and subtly melancholic character of the melody (the oboe solo) very closely alludes to the narrator’s mourning, and the enchanting lyrics originally written for this section further confirms their loss:    I still hear you in the breeze,    See your shadows in the trees;    Holding on, memories never change. The chords and harmonies that the original soundtrack provided were relatively simple to transcribe, and I found joy complementing them with luscious percussion effects. This is my interpretation of Monody, and I believe that it would be best performed as a journey, one which we can relate to as it encompasses the theme of loss; a monody. ARTWORK I also took up the challenge of creating original cover artwork for Monody, and I have to say, my level of appreciation for artists of any kind has skyrocketed ever since that endeavor. It took nearly two months of watching YouTube tutorials, onerous idea crunching, and using my sister’s drawing tablet, but I had nevertheless completed it with advice from some of my more experience peers (including my sister). Formal Credits: Cai, Stephen and Rachel Cai. “Monody†Arrangement for Concert Band cover. 2023 Lastly, I want to say thanks to my friend Matteo Sohn for being such a huge musical inspiration, and thank you for acknowledging my arrangement!
$59.99
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Me and My Shadow
