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TRI ET FILTRES
Tri et filtres :
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One Sows for the Benefit of Another Age - Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1002835 Composed by Kyle Vander…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835). I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.
$49.99
44.8 €
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Orchestre
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Kyle Vanderburg
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One Sows for the Benefit of Another Age - Orchestra
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NoteForge
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SheetMusicPlus
I Heard the Bells on Christmas Day
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1125799 By Michael Swedberg. By Jea…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125799 By Michael Swedberg. By Jean Baptiste Calkin. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726539. Published by Niska Music Publishing (A0.1125799). I must admit that I was far more familiar with the 1956 setting of this poem as sung by Bing Crosby to music by Johnny Marks than I was to the one found in many hymnals. It was on several of the Christmas albums that would be played on the phonograph in our house during the holiday season. However, I chose to arrange the carol setting for this collection as it resonated more deeply with me and seemed to better capture the essence of the poem by Longfellow. He wrote it during the Civil War, on Christmas Day of 1863, and several of the verses make reference to the war. While I did not set any of the Civil War verses, there is an almost martial quality to the opening music and one can almost hear the brass choir ringing out in the first verse. With each subsequent verse, the rhythm of the right hand becomes quicker, moving from half notes to quarter note triplets to eighth notes and finally to eighth note triplets in the final verse. For the most part, the left hand maintains the steady beat of quarter notes, with the exception of the final verse where it begins to move in eighth notes setting up a two-against-three pattern between the hands. It is the most jubilant of the verses and feels like an explosion of sound as the bells ring out across all the land proclaiming God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men..
$3.99
3.58 €
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Piano seul
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Michael Swedberg
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Terrence Niska
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I Heard the Bells on Christmas Day
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Niska Music Publishing
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SheetMusicPlus
Running Through My Mind I. Wondering II. Serene III. Groovin'
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.8…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.894376 Composed by Zack Richards. 20th Century,Concert,Contemporary. Score and parts. 56 pages. Zack Richards #2115149. Published by Zack Richards (A0.894376). This String Quartet was written during my Graduate work in Composition. The idea of the piece was derived while I laid in my bed simply thinking about nothing specific one night. The opening melodic and rhythmic ideas just jumped into my mind. After writing them down, the first movement flowed naturally out and I finished it within a few hours late that night. I wrote the third movement in a similar state of mind. I began to think about how my mind general worked when trying to create music. As I was wondering the music just started to appear in my mind. Then my mind started groovin' as the music came flowing out. The second movement came much later. I had much more difficulty trying to come up with ideas for that one. In order to write it, I had to put myself into a serene state of mind with no distractions whatsoever. Again the music flowed from my mind and in one night I finished the second movement. To this day, I find that these three states of mind are where I am best able to create music.
$22.99
20.6 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Zack Richards
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Running Through My Mind I. Wondering II. Serene III. Groovin'
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Zack Richards
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SheetMusicPlus
While My Guitar Gently Weeps
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.749227 By Yuki M…
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.749227 By Yuki Murakami. By George Harrison, John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by HELEN MARPLE-HORVAT. Contemporary. Score and parts. 23 pages. Helen Marple-Horvat #5310861. Published by Helen Marple-Horvat (A0.749227). https://www.youtube.com/watch?v=_YGzCML5OKYFor many years I laboured under the impression that George Harrison played guitar on this song as well as writing it, but it turns out to have been played by Eric Clapton.This wonderful song is on the ‘100 Greatest Guitar Songs’ list, and number ten on ‘The Beatles 100 Greatest Songs’. None of this is a surprise! I have long wanted to arrange this for Capriccio String Quartet, and I am very proud of it. I think they give a tremendously passionate performance. I am aiming this one at the professional market as it is quite complex. However, with the usual modifications I feel sure that young players could tackle it. I recommend dropping the cello an octave for the first twelve bars but the rest of the cello part falls within expectations for ABRSM Grade 5. As usual the double stopping often contains an open string but it will be possible simply to miss out a note out where tuning could be difficult for young players. Choose from the Score the note that is not already played by one of the others. I am usually writing double stopping to thicken the texture rather than for harmonic considerations. The bowing is just a guide. Take as many bows and play as many open strings as you need to make the song feel comfortable.There is a difficult page turn for viola who plays throughout, so two bars before G could be omitted if necessary as other parts have the note E. The other players have a page break on rests, and the cellist can play open strings and quickly turn with the left hand.Please visit my Youtube Channel at Helen Marple-Horvat Songwriter, Arranger, Composer for playlists of all my arrangements, most of which have been recorded. All but three are available from Sheet Music Plus.
$20.00
17.92 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Yuki Murakami
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HELEN MARPLE-HORVAT
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While My Guitar Gently Weeps
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Helen Marple-Horvat
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SheetMusicPlus
I've Got My Love To Keep Me Warm
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.534831 By Benny Go…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.534831 By Benny Goodman. By Irving Berlin. Arranged by Bryan Kidd. Christmas,Holiday,Jazz,Pop,Standards. Score and parts. 89 pages. BryanKiddMusic.com #142920. Published by BryanKiddMusic.com (A0.534831). Warmly swinging with vocal (alto), big band and strings! This arrangement of Irving Berlin’s “I’ve Got My Love to Keep Me Warm†has its roots in Skip Martin’s famous arrangement, a 1949 million-record seller and Billboard Top 10 song for Les Brown and His Band of Renown. While not a Christmas song, it has become an enduring part of the holiday repertoire. A partial list of artists who have covered it include Billie Holiday, Tony Bennett, Ella Fitzgerald, Rod Stewart, Jo Stafford and Idina Menzel. NOTE: a letter-size (8.5x11) score is included with the set; a more easily read Tabloid (11x17) score is available separately (RECOMMENDED). Brass high note: Trumpet E-flat 6, Trombone B-flat 4.
$75.00
67.22 €
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Ensemble Jazz
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Benny Goodman
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Bryan Kidd
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I've Got My Love To Keep Me Warm
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BryanKiddMusic.com
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SheetMusicPlus
Piano Trio in G Minor by William Wallace Gilchrist, edited and annotated by Rudy Volkmann
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.1005641 Composed by…
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.1005641 Composed by William Wallace Gilchrist. Arranged by Rudy Volkmann. Romantic Period. Score and parts. 186 pages. Rudy Volkmann #6073867. Published by Rudy Volkmann (A0.1005641). The William Wallace Gilchrist Piano Trio in G Minor is a monumental, and historically significant work. In 1990, while chairman of the music department of Paine College, I spent a week doing research on a project in the Philadelphia Free Library. In the course of that project, I stumbled upon an unpublished major chamber piece by one of America’s first homegrown Romantic composers, William Wallace Gilchrist (1846-1916). The find was a vellum (ink on onion skin) working score and parts - working score in that there were changes made on the pages (assumed to be in the composer’s own handwriting) of Gilchrist’s first piano trio. I had other projects at hand, so it was 2005 before I finished editing and annotating the score and parts, presented here. I encourage the reader to refer to the editorial notes in preparing this piece for performance.
$80.00
71.7 €
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William Wallace Gilchrist
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Rudy Volkmann
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Piano Trio in G Minor by William Wallace Gilchrist, edited and annotated by Rudy Volkmann
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Rudy Volkmann
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Violin I
Violon
Violin Solo - Level 5 - Digital Download SKU: A0.1018895 Composed by Benjamin Harry…
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Violin Solo - Level 5 - Digital Download SKU: A0.1018895 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 4 pages. Benjamin Sajo #6056123. Published by Benjamin Sajo (A0.1018895). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.14 €
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Violon
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Violin I
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Benjamin Sajo
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SheetMusicPlus
I Know That My Redeemer Liveth (from The Messiah - soprano voice and classical guitar)
Small Ensemble Flute,Guitar,Oboe,Violin,Voice - Level 5 - Digital Download SKU: A0.7754…
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Small Ensemble Flute,Guitar,Oboe,Violin,Voice - Level 5 - Digital Download SKU: A0.775437 Composed by Georg Friederich Handel. Arranged by John Pinno. Baroque,Christian,Christmas,Concert,Easter. Score and parts. 13 pages. John Pinno #3110949. Published by John Pinno (A0.775437). An arrangement for soprano voice and classical guitar of I Know That My Redeemer Liveth from Handel's The Messiah, arranged for voice and classical guitar. The original key for this was in E major, and while that is a very good key for the guitar, this arrangement seemed richer in the key of D, with the guitar tuning the 6th string down to D. Should anyone want to perform this in E, the guitarist would need to used a capo at the second fret, and the vocal line would be sung a whole step higher. While this work was written for soprano singer, this arrangement could also be performed instrumentally with either flute, violin, or oboe playing the vocal part. I did not provide a separate part for instrumental performances, however if you purchase a copy of this arrangement, I can provide an instrumental part, if you email me at jpinno093@hotmail.com. Please also check out some of my other arrangements on Sheet Music Plus for classical guitar solo, and also duos for guitar with flute or voice : http://www.sheetmusicplus.com/publishers/john-pinno-sheet-music/3002745
$12.00
10.75 €
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Georg Friederich Handel
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John Pinno
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I Know That My Redeemer Liveth
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John Pinno
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SheetMusicPlus
I Am Not An Angry Black Woman for mezzo-soprano (Range: A4 to A6)
Chorale 3 parties
Choral Choir (SSA) - Level 5 - Digital Download SKU: A0.845956 Composed by Maria Th…
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Choral Choir (SSA) - Level 5 - Digital Download SKU: A0.845956 Composed by Maria Thompson Corley. Concert,Contemporary. Octavo. 7 pages. Maria Thompson Corley #6679309. Published by Maria Thompson Corley (A0.845956). The text to this dramatic, intense song was inspired by the events of the summer of 2020; that said, the trope it addresses goes back for many years. The message is this: no person can be summed up by one emotion, and all have the right to be angry, on occasion. Black women have more reason to be angry than a lot of people, and while we shouldn't be consumed by anger, we shouldn't feel like we can't express it, either. Anger results from hurt or fear; the more lyrical middle section alludes to the pain that we've experienced. The song ends with the defiant question: But what if I were? If you have questions, Raehann Bryce and Jeanne-Minette Cilliers capture this song perfectly in the YouTube video. For reasons I can't explain, I'm unable to add the link, however, it's on my Maria Corley YouTube channel.
$9.99
8.95 €
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Chorale 3 parties
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Maria Thompson Corley
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I Am Not An Angry Black Woman for mezzo-soprano
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Maria Thompson Corley
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SheetMusicPlus
Hold On Just A Little While Longer
Jazz combo
Jazz Combo - Level 5 - Digital Download SKU: A0.779147 Composed by Don Hodell Chilc…
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Jazz Combo - Level 5 - Digital Download SKU: A0.779147 Composed by Don Hodell Chilcote. Arranged by Don Hodell Chilcote. Blues,Gospel,Jazz,Sacred,Spiritual. Score and parts. 3 pages. Don Hodell Chilcote #6448563. Published by Don Hodell Chilcote (A0.779147). Hold On Just A Little While Longer is for piano solo or ensemble. This is a great tune and the piece has a distinct and unique introduction, and 2 page arrangement is challenging but not overly so, and well worth the effort to learn. Fun tune to learn and improvise over. I used it in church for a prelude.
$2.99
2.68 €
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Jazz combo
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Don Hodell Chilcote
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Don Hodell Chilcote
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Hold On Just A Little While Longer
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Don Hodell Chilcote
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SheetMusicPlus
I Should Be So Lucky
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.1454822 By Kylie Minogue. By Matt…
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Concert Band - Level 5 - Digital Download SKU: A0.1454822 By Kylie Minogue. By Matt Aitken and Mike Stock. Arranged by Rusty Toots. 20th Century,Classical,Comedy,Contemporary,Pop. 73 pages. Russell Ward #1033890. Published by Russell Ward (A0.1454822). The 2nd instalment from the Stock Aitken and Waterman Re-imagined Suite for Symphonic Winds by Rusty Toots, this lively re-arrangement of Kylie Minogue's I Should Be So Lucky opens with a irreverant nod to Pachelbel's canon and Big Ben's famous Westminster Quarters tune, before taking off in a quirky romp with title tune. Some colorful additions to the percussion section (chimes, ratchet, woodblocks, triangle) help to create a very playful atmosphere, with xylophone featuring prominently throughout. Listeners may also recognise another well-known sexy brit-pop tune sneakily introduced by the bassoon at one point. While technically challenging at times, the playful and irreverant spirit of this movement is sure to please audiences and players alike.
$70.00
62.74 €
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Orchestre d'harmonie
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Kylie Minogue
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Rusty Toots
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I Should Be So Lucky
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Russell Ward
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SheetMusicPlus
i thank You God, Song Cycle for Mezzo Soprano and piano
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1419026 Composed by Liz Nede…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1419026 Composed by Liz Nedela. 20th Century,Christian,Classical,Contemporary,Religious. Score. 24 pages. Liz Nedela #1000466. Published by Liz Nedela (A0.1419026). This piece is a Song Cycle of three songs. The titles of the songs are lines from the poem. The poem is by e.e. cummings, used with permission. Each song emphasizes portions of the complete poem. The composer's intent is to place the same emphasis as Cummings portrayed in his recitation, a copy of which is online; see the YouTube link.NOTE: The mp3 uses samples of each of the three songs, using this guide:Song #1: Beginning of recording to #1:37; Measures 1-41 of the scoreSong #2: From #1:57-3:28 of recording; Measures 1-46 of the scoreSong #3: From #3:43-end of recording; Measures 1-57 of the score 1. a true blue dream of sky, states the entire poem, with emphasis as portrayed inCummings recitation. The voice is lyrical and theatrical, with spoken words andhumming, as well as singing. The accompaniment implicates solidity, predictability,strength of the nature of God; but also wonderment, freedom and being light-hearted.The composer chose to title this song using a line in the poem, rather than the mostused title — which begins the cycle of key elements of the poem used to title andcomprise songs 2 and 3 — thereby placing importance as Cummings recited.2. of life and of love and wings, is more lyrical and lighter in nature than song #1. This song emphasis God’s creations, and seemingly joy He displayed while creating them, giving them wings of freedom for life and love.3. unimaginable You, is more reflective, using a modal tone — all to emphasize thereactions of Cummings to the wonderment and magnitude of God.  He concludes with:(and now the ears of my ears awake andnow the eyes of my eyes are opened)Also please note: The price includes permission to make two copies of the pdf.
$25.00
22.41 €
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Piano, Voix
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Liz Nedela
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see the YouTube link
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i thank You God, Song Cycle for Mezzo Soprano and piano
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Liz Nedela
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SheetMusicPlus
Prelude on Woodworth ('Just As I Am')
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1374217 Composed by John Burkett. A…
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Piano Solo - Level 5 - Digital Download SKU: A0.1374217 Composed by John Burkett. Arranged by John Burkett. Classical,Praise & Worship,Sacred. Score. 8 pages. John Burkett #958806. Published by John Burkett (A0.1374217). My Prelude on Woodworth (Just As I Am) is intended for church pianists looking for interesting arrangements of hymns familiar to their congregations. The first section of my arrangement is simple enough. But the remainder requires advanced pianistic skill with its wide-ranging arpeggios in the left hand and the use of so-called 3-handed technique, wherein the right and left hands alternate playing the melody notes in the middle compass of the keyboard, while also negotiating the aforementioned arpeggios in the left hand, as well as quickly moving arpeggios and scale passages in the right hand. Near the end of the piece the use of the sostenuto pedal is also required. In short, my arrangement is a virtuosic treatment in 19th century romantic style of a mid-19th century hymn tune. I have provided a full-length recording to aid the prospective buyer in the decision-making process. I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangements of mine, some for organ and others for piano.
$9.50
8.51 €
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Piano seul
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John Burkett
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John Burkett
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Prelude on Woodworth
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John Burkett
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SheetMusicPlus
Quatre Poemes De Guillaume Apollinaire
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis …
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461). The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists. This collectionâ??s reductions boast several unique features: 1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ? 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 Iâ??ve provided.2. Iâ??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 â??sink or swimâ? accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â? with â??ssâ? in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.
$8.95
8.02 €
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Piano, Voix
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Francis Poulenc and Guillaume Apollinaire
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Nicole Elyse DiPaolo
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Quatre Poemes De Guillaume Apollinaire
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Nicole Elyse DiPaolo
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SheetMusicPlus
Prelude 12 in Bb Minor Dorian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1216197 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Prelude 2 in A Minor Aolian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1189809 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 2 in A Minor Aolian
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Brian Golden
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SheetMusicPlus
Prelude 4 in D Minor Phrygian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1191080 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 4 in D Minor Phrygian
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Brian Golden
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SheetMusicPlus
Prelude 5 in Bb Major Lydian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1191533 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 5 in Bb Major Lydian
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Brian Golden
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SheetMusicPlus
Prelude 13 in F# Major Ionian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1248571 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 13 in F# Major Ionian
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Brian Golden
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SheetMusicPlus
Prelude 8 in C Minor Aolian
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1216191 By Brian Golden. By Brian G…
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Piano Solo - Level 5 - Digital Download SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191). Prelude 8 in C Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
5.37 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 8 in C Minor Aolian
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Brian Golden
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SheetMusicPlus
Bach Fuga BWV 539 For Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
22.41 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Broke - Chose Money Over Me
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.518631 By GbÄ“r…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.518631 By Gbērē Dodoh. By Holyone Tombari Dodoh. 20th Century,Blues,Jazz,Pop,Romantic Period. Score and parts. 100 pages. Holyone Tombari Dodoh #129341. Published by Holyone Tombari Dodoh (A0.518631). The broken hearted. Lyrics performed by an Open Source Virtual Singer Software (bot). Score and parts included. Lyrics No, no, no, no, no! Can't hide it anymore, She's happy but I'm hurt, I want to be her joy; She said I'm so annoy'ng, Baby I'm so sorry! Baby I'm so sorry! She has no hope in me making it big, She saw no future in me becoming rich, She chose luxury over me; Baby I'm so sorry! She saw no happiness with me so soon, She chose money over me Because I was broke; We ate together, We laughed together; We loved each other: She said she love me I am everything to her, She said I meant the world and the life in her, But she chose luxury over me, Baby I'm so sorry! Luxury so sweet; the life she feels I cannot give, She chose money over me Because I was broke; I was out in the colds Just to gist with you, I know my failures Made me look senseless And my path rejections Made me look worthless; I buried my labour just to make you so happy And sweet smile on your face gave me joy and hope on my dreams I will never forget you, I will always remember, For the memory of you Had consumed my thoughts, Baby I'm so sorry! Baby I'm so sorry! I thought I was the one for you all this while, I hope your luxury will love and care for you More than the way I would love and care for you, Because I thought my little love was just enough She chose money over me Because I was broke; No, no, no, no, no! Can't hide it any more, She's happy but I'm hurt, I want to be her joy; She said I'm so annoy'ng, Baby I'm so sorry! Baby I'm so sorry! My dreams of promises to her is gone with her For it never became a reality, I told her to never leave me. She said I'm giving her tough times. I called her my Belov'd the one in whom I am well pleased, I told her it will be all right for one day we Will make it to the top of the World together, But she never believed me Because I was broke; She started feeling bored for texting and chatting with me; She started laying False accusations against me; I denied pleasure and Distance just to be with her And made her so happy But she could not do same for me, Baby I'm so sorry! Baby I'm so sorry! She suspects me for what I do not know, I had to let it go For her to be happy Because that's what she wants! Baby I'm so sorry! Baby I'm so sorry! It's hard to say the word Because I was broke; Baby I'm so sorry! Baby I'm so sorry! Baby I'm so sorry! Baby I'm so sorry!
$6.70
6 €
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Ensemble Jazz
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Gbērē Dodoh
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Broke - Chose Money Over Me
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Holyone Tombari Dodoh
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SheetMusicPlus
9.28.85
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. …
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Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
7.16 €
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Trombone
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Anim Zemiros
Chorale SATB
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909…
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
2.69 €
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Chorale SATB
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
In the Bleak Midwinter
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gus…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726553. Published by Niska Music Publishing (A0.1125813). Another arrangement that had its genesis as a vocal chart for Five By Design. However, this piece went on to be performed in our holiday show, “A Winter’s Evening.†I have always loved the Gustav Holst melody to Christina Rossetti’s poem, subsequently it was that setting that I chose to arrange for our group. When I was selecting pieces for my second collection of Christmas Preludes, I knew this would be among them. The piece starts out quite gently, and in my mind’s ear I hear a cello and oboe establishing a mood of utter serenity and calm as the snow gently falls outside the frost-covered window. Soon the oboe is joined by a clarinet as they play a duet while the cello continues the gentle sway of eighth notes. For the pianist, there must be great control of the left hand to keep it as calm as possible while the melody floats above, just as the snow falls to the earth. As the second verse begins, the right hand now plays a triplet pattern beneath the melody. It is a gentle breeze, stirred by the wings of angels and cherubim, upon which the crystalline flakes swirl and dance in the cold night air. All the while the left hand continues its steady motion of eighth notes. Halfway through the triplet pattern moves to the left hand and the right hand takes up the eighth notes while still keeping the melody above all. The verse comes to a close with a slowing of the tempo to emphasize the importance of what the poet states in the last lines of the poem: “Yet what I can I give Him, — Give my heart.†It is all that any of us can do, and all that we are asked to do.
$3.99
3.58 €
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Piano seul
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Michael Swedberg
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Terrence Niska
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In the Bleak Midwinter
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Niska Music Publishing
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SheetMusicPlus
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