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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
2 of 7
Sheetmusicplus
Non classifié
2 201
Piano & claviers
Piano seul
741
Piano, Voix
558
Piano Facile
266
Piano, Voix et Guitare
136
Orgue
92
1 Piano, 4 mains
73
2 Pianos, 4 mains
48
Instruments en Do
36
Piano Trio: piano, violon, violoncelle
27
Piano Quintette: piano, 2 violons, alto, violoncelle
24
Accompagnement Piano
23
Piano Quatuor: piano, 2 violons, violoncelle
15
Accordéon
14
Piano Quatuor: piano, violon, alto, violoncelle
13
Clavecin
6
Orgue, Trompette (duo)
6
Orgue, Piano (duo)
4
Piano (partie séparée)
3
2 Accordéons
2
1 Piano, 6 mains
1
+ 15 instrumentations
Retracter
Guitares
Guitare notes et tablatures
208
Guitare
69
2 Guitares (duo)
54
Basse electrique
23
Ligne De Mélodie, (Paroles) et Accords
15
Ukulele
9
4 Guitares (Quatuor)
9
2 Ukuleles
7
Ensemble de guitares
6
3 Guitares (trio)
5
Mandoline
5
Paroles et Accords
5
Dulcimer
2
Mandoline, Piano (duo)
1
2 Guitares, Clarinette (trio)
1
Guitare (partie séparée)
1
Guitare, Violon, Violoncelle (trio)
1
+ 12 instrumentations
Retracter
Voix
Chorale 2 parties
893
Chorale SATB
733
Chorale 3 parties
342
Voix duo, Piano
220
Chorale Unison
158
Chorale TTBB
120
Voix duo
81
Chorale SSAA
67
Pack Instrumental pour Chorale
26
Voix Soprano, Piano
12
Voix Tenor, Piano
9
Voix haute
5
Voix Alto, Piano
5
Chorale
4
Voix moyenne, Piano
3
Voix Baryton, Piano
3
Chorale SSATB
2
Voix Mezzo-Soprano, Piano
2
Voix basse, Piano
2
Voix Tenor
1
Voix seule
1
Voix d'Enfants
1
+ 17 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
280
2 Saxophones (duo)
255
2 Flûtes traversières (duo)
236
Flûte traversière et Piano
227
Flûte, Hautbois, Clarinette, Basson
213
2 Clarinettes (duo)
207
Quatuor de Clarinettes: 4 clarinettes
136
Clarinette et Piano
131
Hautbois, Piano (duo)
129
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
126
Saxophone Alto et Piano
101
3 Clarinettes (trio)
91
Saxophone Tenor et Piano
78
2 Hautbois (duo)
71
3 Saxophones (trio)
64
Clarinette
56
Flûte traversière
51
Quatuor de Flûtes : 4 flûtes
50
Saxophone Soprano et Piano
46
Quintette de Saxophone: 5 saxophones
45
2 Flûte à bec (duo)
41
Trio de Flûtes: 3 flûtes
40
Hautbois (partie séparée)
34
Saxophone Baryton, Piano
33
Flûte, Clarinette (duo)
23
Ensemble de Clarinettes
20
Quintette de Clarinettes: 5 clarinettes
18
Quatuor de Flûtes à bec
18
Ensemble de Flûtes
17
Hautbois, Basson (duo)
17
Cor anglais, Piano
16
Flûte, Violon, Piano
16
Flûte et Guitare
15
Saxophone Alto
15
Clarinette Basse, Piano
14
Saxophone (partie séparée)
13
Clarinette, Basson (duo)
13
Saxophone Tenor
13
Hautbois, Clarinette, Basson (trio d'anches)
11
Hautbois, Clarinette (duo)
11
Flûte, Hautbois, Clarinette (trio)
10
2 Cors Anglais Et Pianoforte
9
Ensemble de saxophones
9
Flûte, Violoncelle
8
2 Clarinettes, Basson
8
2 Saxophones, Piano
8
Flûte, Clarinette et Basson
7
Clarinette, Violoncelle (duo)
7
Hautbois, Flûte
6
Flûte, Clarinette, Cor, Basson (Quartet)
6
Quintette de Flûte : 5 flûtes
6
Clarinette, Violon (duo)
5
Hautbois, Violoncelle
5
Flûte, Alto (duo)
4
Hautbois
4
2 Clarinettes, Piano
4
Cor Anglais
4
Saxophone, Clarinette (duo)
4
Flûte, Hautbois (duo)
4
Flûte à bec Alto
4
Clarinette, Guitare (duo)
4
Cor anglais, Guitare (duo)
4
2 Flûtes traversières, Piano
3
Ensemble De Flûte à bec
3
Flûte, Trombone (duo)
3
Clarinette, Trombone (duo)
3
Flûte à bec Soprano
3
Flûte, Trompette (duo)
3
Flûte, Violon
3
3 Flûtes à bec (trio)
3
Hautbois, Guitare (duo)
3
Flûte, Hautbois, Basson
3
Flute (partie séparée)
3
Clarinette (partie séparée)
3
Flûte, Basson et Piano
2
Flûte, Tuba (duo)
2
Flûte, Violoncelle, Piano (trio)
2
Piccolo, Piano
2
Saxophone et violoncelle
2
Saxophone et Guitare
2
Saxophone, Basson (duo)
2
Saxophone
2
Flûte et Trio à cordes
2
Hautbois et alto (duo)
2
Flûte à Bec, Piano
1
Flûte, Alto et Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Clarinette, Trompette (duo)
1
2 Flûtes à bec, Guitare
1
Flûte, Harpe et Violoncelle
1
Flûte, Clarinette, Piano (trio)
1
4 Hautbois
1
Flûte, Violoncelle, Guitare
1
Clarinette et Alto
1
2 Flûtes, Basse continue
1
Hautbois, trombone (duo)
1
5 Flûtes à bec
1
2 Hautbois, Piano
1
Flûte à bec Soprano, Piano
1
Flûte, Saxophone (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, violon (duo)
1
Flûte à bec Alto, Basse continue
1
Saxophone Soprano
1
3 Hautbois
1
Instruments en Mib
1
Flûte traversière, Basse continue
1
+ 102 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
217
Quatuor de Cuivres : 2 trompettes, trombone, tuba
194
Quatuor de Cuivres: 2 trompettes, Cor, trombone
141
Trombone et Piano
96
2 Trompettes (duo)
89
Trompette, Piano
87
2 Trombones (duo)
76
2 Cors (duo)
72
Cor et Piano
62
Quatuor de Cuivres
61
Tuba et Piano
53
Trompette
50
2 Tubas (duo)
25
Trombone
24
Trompette, Trombone (duo)
24
Euphonium, Piano (duo)
24
Quatuor de cuivres: 4 trombones
21
Cor anglais, Piano
16
Cor
16
2 Euphoniums et 2 Tubas
16
Quatuor de cuivres: 4 cors
14
Trio de Cuivres
12
Tuba
9
2 Cors Anglais Et Pianoforte
9
3 Trombones (trio)
8
2 Euphoniums (duo)
8
Euphonium, Tuba (duo)
8
Trompette (partie séparée)
8
Trompette, Cor (duo)
8
Quatuor de cuivres: 4 trompettes
7
Ensemble de Trombones
7
4 Tubas
7
Ensemble de Cors
6
Trombone (partie séparée)
5
Trompette, Tuba (duo)
5
Trompette, Saxophone (duo)
4
Cor Anglais
4
3 Tubas (trio)
4
Ensemble de Trompettes
4
Trombone, Cor (duo)
4
Cor anglais, Guitare (duo)
4
Cor, Violoncelle (duo)
3
3 Cors (trio)
3
Cor (partie séparée)
3
3 Trompettes (trio)
3
Trombone, Orgue
3
Euphonium
2
Trompette, violon (duo)
2
2 Trompettes, Clavier (piano ou orgue)
2
Cor et Basson (duo)
2
Tuba (partie séparée)
2
Trombone, Violon (duo)
2
Cor, Tuba (duo)
2
Trombone basse
1
Bass Clef Instruments
1
Cor, Trompette, Trombone (trio)
1
3 Euphoniums
1
Trompette, Euphonium (duo)
1
Instruments en Sib
1
Trompette et Guitare
1
Trompette, Violoncelle (duo)
1
Trompette, Basson (duo)
1
Trombone, Alto (duo)
1
Instruments en Fa
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Clarinette, Cor (duo)
1
+ 61 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 467
2 Violons (duo)
217
Violon et Piano
191
Trio à Cordes: 2 violons, violoncelle
158
2 Violoncelles (duo)
143
Violoncelle, Piano
137
Alto, Piano
131
2 Altos (duo)
123
Violon, Violoncelle (duo)
111
Trio à Cordes: violon, alto, violoncelle
100
Quintette à cordes: 2 violons, alto, violoncelle, basse
83
Violon
62
Violon, Alto (duo)
43
Violoncelle
43
4 Violoncelles
28
Harpe
27
Contrebasse, Piano (duo)
25
Trio à cordes: 3 violins
21
Trio à Cordes: 2 violons, alto
18
Quatuor à cordes: 4 violons
18
Alto, Violoncelle (duo)
17
Alto seul
16
2 Contrebasses (duo)
13
2 Harpes (duo)
12
Quatuor à cordes : 4 altos
12
Violon, Guitare (duo)
11
Trio à Cordes: 3 violoncelles
10
2 Violons, Piano
10
Alto (partie séparée)
9
Violon (partie séparée)
9
Harpe, Violon (duo)
8
Violoncelle , Guitare (duo)
8
Alto, Guitare (duo)
8
Quintette à cordes : 2 violons, alto et 2 violoncelles
7
Harpe, Flûte (duo)
6
Contre Basse
6
Trio à cordes: 3 altos
6
Piano Trio: Violon, Alto, Piano
6
Alto et Harpe
4
Violon, Basson (duo)
4
Harpe, Violoncelle (duo)
3
Alto et Basson
2
2 Altos, Piano
2
2 Violoncelles, Piano
2
Violoncelle, Contrebasse (duo)
2
Trio à cordes
1
Flûte, Contrebasse (duo)
1
Violon, Clarinette, Piano (trio)
1
3 Contrebasses
1
Violoncelle, Orgue
1
Violoncelle, Basse continue
1
4 Contrebasses
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Harpe et Piano
1
Violon, Tuba (duo)
1
+ 50 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
216
Cloches
189
Orchestre à Cordes
114
Orchestre
87
Ensemble de cuivres
64
Orchestre de chambre
63
Ensemble Jazz
24
Ensemble de Percussions
20
Jazz combo
18
Fanfare
12
Percussion (partie séparée)
6
Batterie
6
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
2 Marimbas
4
2 Xylophones
4
Vibraphone
3
Vibraphone et Marimba
2
Marimba
2
Quintette de Cuivres: autres combinaisons
2
Timbales
1
Batterie (partie séparée)
1
Xylophone, Piano
1
Instrumentation Flexible
1
Piano et Orchestre
1
+ 19 instrumentations
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ACCORDEON
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AUTRES INST…
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
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PIANO
SAXOPHONE
SYNTHETISEUR
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UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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9976
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
SURRENDER, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
(+)
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
IGNITE, Between the Octaves -
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. P...
(+)
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
2 of 7
#
Guitare
#
Classique
#
Michael C
#
2 of 7
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Michael Keller
#
SheetMusicPlus
Solo Guitar - SKU: A0.1131400 Composed by Michael C. Keller. Classical. Individual part. 2 pages. Michael Keller #731611. Published by Michael Keller (A...
(+)
Solo Guitar - SKU: A0.1131400 Composed by Michael C. Keller. Classical. Individual part. 2 pages. Michael Keller #731611. Published by Michael Keller (A0.1131400). Part of The Collective, a group of pieces written for solo guitar.
$2.00
There Were Two Men (Nathan the Prophet and King David) from "The Kings" - ACT 2:Song 7
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Chorale 2 parties
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INTERMÉDIAIRE
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McCorkle, Dennis F
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There Were Two Men
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
Choral Choir (TB) - Level 3 - SKU: A0.784833 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Octavo. 24 pages. DF McCorkle ...
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Choral Choir (TB) - Level 3 - SKU: A0.784833 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. Octavo. 24 pages. DF McCorkle Music and eBook Publications #11757. Published by DF McCorkle Music and eBook Publications (A0.784833). ACT TWO: Song 7. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [2 Samuel 12:1-7… - And Yahweh sent Nathan to David. And he came unto him, and said unto him: ‘There were two men in one city: the one rich, and the other poor. 2 The rich man had exceeding many flocks and herds; 3 but the poor man had nothing save one little ewe lamb, which he had bought and reared; and it grew up together with him, and with his children; it did eat of his own morsel, and drank of his own cup, and lay in his bosom, and was unto him as a daughter. 4 And there came a traveler unto the rich man, and he spared to take of his own flock and of his own herd, to dress for the wayfaring man that was come unto him, but took the poor man’s lamb, and dressed it for the man that was come to him.’ 5 And David’s anger was greatly kindled against the man; and he said to Nathan: ‘As Yahweh lives, the man that hath done this deserves to die; 6 and he shall restore the lamb fourfold, because he did this thing, and because he had no pity.’ 7 And Nathan said to David: ‘You art the man.’…] The news is brought back to DAVID and BATHSHEBA. After an appropriate period of mourning, DAVID calls for BATHSHEBA and takes her as his wife and eventually gives birth to a son. DAVID in the meantime still conceals to himself the actions that precipitated URIAH’S death. NATHAN confronts DAVID about a rich man in the town who has stolen a lamb from a poor man. DAVID outraged at the injustice tells NATHAN that the man will die for his unfeeling actions. NATHAN then reveals that he (DAVID) is that man [There Were Two Men – Nathan and the Prophetess’]. Now at last the matter is exposed and David must face his actions. As NATHAN and the prophets leave, one of DAVID’S men comes in and tells him that his son has died. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
Sounds of Creation (A Collection of 7 Keyboard Duets, for 2 Pianos, 4 Hands)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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some soothing, some startling
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Sounds of Creation
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1407365 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Christian,Contempora...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1407365 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. 20th Century,Christian,Contemporary,Instructional,New Age. Score. 87 pages. Sharon Wilson #990042. Published by Sharon Wilson (A0.1407365). Take a walk in the woods, along a sandy beach, or beside a rushing river. Listen to the sounds of nature: birds warbling, frogs croaking, leaves rustling, streams splashing, waves crashing -- sounds abound; some soothing, some startling.  This collection features 7 piano duets inspired by the sounds of nature. Filled with simple melodies, repeating themes, and echoing harmonies, these dual keyboard arrangements (for 2 Pianos, 4 Hands) are as inspirational to play as they are to listen to. These duets sounds equally pleasing whether played on two acoustic pianos or played on two keyboards with unique sounds. For each song there is a grand staff with both piano parts on each page plus the alternate format with each piano part on separate pages. Each duet is also available separately with accompanying preview pages and audio samples. Titles included in this collection: PreludePastoralSerenadeIntermezzoNocturneFantasiaFinale Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$17.99
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
If My People (2 Chronicles 7:14
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Chorale SATB
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INTERMÉDIAIRE
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Gene Roberson
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If My People
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Gene Roberson
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.848666 Composed by Gene Roberson. Concert,Contemporary,Holiday,Patriotic,Spiritual. Octavo. 8 pages. Gene Robers...
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Choral Choir (SATB) - Level 3 - SKU: A0.848666 Composed by Gene Roberson. Concert,Contemporary,Holiday,Patriotic,Spiritual. Octavo. 8 pages. Gene Roberson #4580739. Published by Gene Roberson (A0.848666). New setting of 2: Chronicles 7:14 IF My People Will Humble Themselves and pray. I will heal their land.Choral anthem for SATB voices. A meaningful pray for country. Perfect for all patriotic holidays.Piano accompaniment.
$1.99
Songs from Mother Goose Instant Concert Series (A Collection of 7 Mother Goose Rhymes Set to Music
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Chorale 2 parties
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INTERMÉDIAIRE
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Carol Troutman Wiggins
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Songs from Mother Goose Instan
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (SA) - Level 3 - SKU: A0.727581 Composed by Carol Troutman Wiggins. Children,Comedy,Contemporary,Instructional,Traditional. Octavo. 56 page...
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Choral Choir (SA) - Level 3 - SKU: A0.727581 Composed by Carol Troutman Wiggins. Children,Comedy,Contemporary,Instructional,Traditional. Octavo. 56 pages. Carol Troutman Wiggins #4884433. Published by Carol Troutman Wiggins (A0.727581). Songs of Mother Goose was created with the middle school or older student in mind. The songs are fun, mysterious, and move quickly. As an Instant Concert Series, these songs may be used as single songs or an instant concert may be created using all the songs, adding in the nursery rhymes as narration. This would be great to use as a lesson series, involving research from the students.As an added bonus, two songs were added, Jack’s Beanstalk Stomp and Little Red Riding Hood. While these are not actual Mother Goose songs, they are fairy tales that your student might enjoy!
$12.95
7.40pm, Traditional Klezmer tune for Alto Saxophone Duet
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2 Saxophones (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Alto Saxophone Duet Alto Saxophone - Level 3 - SKU: A0.588479 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. 2 scores. ...
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Alto Saxophone Duet Alto Saxophone - Level 3 - SKU: A0.588479 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. 2 scores. 6 pages. David McKeown #6017103. Published by David McKeown (A0.588479). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Alto Saxophones. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Clarinet Duet
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Clarinet Duet Clarinet - Level 3 - SKU: A0.588720 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. 2 scores. 6 pages. Dav...
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Clarinet Duet Clarinet - Level 3 - SKU: A0.588720 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. 2 scores. 6 pages. David McKeown #6017071. Published by David McKeown (A0.588720). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Clarinets. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Trombone Duet
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2 Trombones (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Trombone Duet Trombone - Level 3 - SKU: A0.589047 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David ...
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Trombone Duet Trombone - Level 3 - SKU: A0.589047 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown #6017113. Published by David McKeown (A0.589047). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Trombones. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Flute and Alto Flute Duet
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2 Flûtes traversières (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Instrumental Duet Alto Flute,Instrumental Duet - Level 3 - SKU: A0.588846 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,Multi...
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Instrumental Duet Alto Flute,Instrumental Duet - Level 3 - SKU: A0.588846 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,Multicultural,World. Score and parts. 6 pages. David McKeown #6017075. Published by David McKeown (A0.588846). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for one Flute and one Alto Flute.It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Clarinet and Alto Clarinet Duet
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 3 - SKU: A0.588677 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,...
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Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 3 - SKU: A0.588677 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,Multicultural,World. Score and parts. 6 pages. David McKeown #6017059. Published by David McKeown (A0.588677). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for one Clarinet and one Alto Clarinet.It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Clarinet and Bass Clarinet Duet
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Instrumental Duet Bass Clarinet,Instrumental Duet - Level 3 - SKU: A0.588699 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,Mu...
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Instrumental Duet Bass Clarinet,Instrumental Duet - Level 3 - SKU: A0.588699 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,Multicultural,World. Score and parts. 6 pages. David McKeown #6017057. Published by David McKeown (A0.588699). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for one Clarinet and one Bass Clarinet. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Tenor Saxophone Duet
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2 Saxophones (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Tenor Saxophone Duet Tenor Saxophone - Level 3 - SKU: A0.589022 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6...
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Tenor Saxophone Duet Tenor Saxophone - Level 3 - SKU: A0.589022 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown #6017111. Published by David McKeown (A0.589022). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Tenor Saxophones. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Soprano and Alto Saxophone Duet
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2 Saxophones (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Soprano Saxophone - Level 3 - SKU: A0.588412 Composed by Traditional. Arranged by David McKeown. Folk...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Soprano Saxophone - Level 3 - SKU: A0.588412 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score and parts. 6 pages. David McKeown #6017105. Published by David McKeown (A0.588412). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for one Soprano and one Alto Saxophone.It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Alto and Tenor Saxophone Duet
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2 Saxophones (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.588434 Composed by Traditional. Arranged by David McKeown. Folk,H...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.588434 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score and parts. 6 pages. David McKeown #6017101. Published by David McKeown (A0.588434). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for one Alto and one Tenor Saxophone.It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Cello Duet
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2 Violoncelles (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Cello Duet Cello - Level 3 - SKU: A0.588512 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeow...
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Cello Duet Cello - Level 3 - SKU: A0.588512 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown #6017131. Published by David McKeown (A0.588512). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Cellos. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Oboe Duet
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2 Hautbois (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Oboe Duet Oboe - Level 3 - SKU: A0.588952 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown ...
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Oboe Duet Oboe - Level 3 - SKU: A0.588952 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown #6017099. Published by David McKeown (A0.588952). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Oboes. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
7.40pm, Traditional Klezmer tune for Viola Duet
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2 Altos (duo)
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INTERMÉDIAIRE
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Klezmer
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Traditional
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David McKeown
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7.40pm, Traditional Klezmer tu
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David McKeown
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SheetMusicPlus
Viola Duet Viola - Level 3 - SKU: A0.589121 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeow...
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Viola Duet Viola - Level 3 - SKU: A0.589121 Composed by Traditional. Arranged by David McKeown. Folk,Hanukkah,Jewish,World. Score. 6 pages. David McKeown #6017129. Published by David McKeown (A0.589121). 7.40pm is a traditional Russian Jewish tune, often performed by Klezmer musicians. This version is arranged as a duet for two Violas. It isn’t completely clear where the title 7.40pm comes from. One interpretation is that 7.40pm was the time the Odessa tram conductors finished work and danced to this tune. But there are versions titled 7.40am which may refer to the time of Jewish early morning prayers. Whatever the origin, there are several Russian recordings of 7.40pm that predate the 1917 revolution.7.40pm is simply arranged in a key and range best suited to the instruments. After a slow and expressively beginning, the melody switches to dance tempo. 7.40pm is suitable for players at an intermediate level and above. With a performance time of a little over three minutes, this version of 7.40pm is perfect for recital and concert performances, both formal and informal. Click the link above to listen to a full Youtube performance of the Clarinet version of this duet.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
Schumann: Album für die Jugend (Album for the Young) (Op.68)(Nos. 1,2,3,5,6,7,8,) clarinet duet
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Robert Schumann
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Ray Thompson
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Schumann: Album für die J
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RayThompsonMusic
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SheetMusicPlus
Clarinet Duet Clarinet - Level 3 - SKU: A0.553245 Composed by Robert Schumann. Arranged by Ray Thompson. Children,Instructional,Romantic Period,Standard...
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Clarinet Duet Clarinet - Level 3 - SKU: A0.553245 Composed by Robert Schumann. Arranged by Ray Thompson. Children,Instructional,Romantic Period,Standards. 2 scores. 16 pages. RayThompsonMusic #37921. Published by RayThompsonMusic (A0.553245). Arrangement for clarinet duet of 7 of the earlier pieces from this collection. Interesting parts for both players. Can be purchased as parts of 3 pieces, or in some cases solely. (See related scores) Pieces are: 1.Melodie (Melody) 2.Soldatenmarsch. (Soldier's March) 3.Trällerliedchen (Humming Song) 5.Stückchen (A little piece) 6.Armes Waisenkind (The Poor Orphan) 7. Jägerliedchen (Hunting Song) 8. Wilder Reiter (The wild rider).
$7.25
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