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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
After The Ball
Sheetmusicplus
Non classifié
145
Piano & claviers
Piano, Voix
63
Piano seul
63
Piano, Voix et Guitare
27
Instruments en Do
9
Piano Facile
9
Piano Quatuor: piano, violon, alto, violoncelle
2
Orgue
2
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano grosses notes
1
+ 5 instrumentations
Retracter
Guitares
Ukulele
5
Guitare notes et tablatures
3
Guitare
2
2 Mandolines (duo)
2
Paroles et Accords
1
Voix
Chorale SATB
23
Chorale TTBB
11
Chorale 3 parties
8
Chorale Unison
5
Chorale SSAA
3
Voix duo
3
Chorale 2 parties
2
Voix Mezzo-Soprano, Piano
1
Voix Baryton, Piano
1
Voix Soprano, Piano
1
Voix Baryton
1
Voix haute
1
Voix Alto, Piano
1
+ 8 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
22
Quatuor de Saxophones: 4 saxophones
21
Quatuor de Clarinettes: 4 clarinettes
15
Quatuor de Flûtes : 4 flûtes
14
Flûte traversière et Piano
13
Clarinette et Piano
11
Saxophone Alto et Piano
9
2 Saxophones (duo)
8
2 Clarinettes (duo)
8
Saxophone Tenor et Piano
8
Flûte, Hautbois, Clarinette, Basson
6
Saxophone Soprano et Piano
6
Hautbois, Piano (duo)
4
Quintette de Saxophone: 5 saxophones
3
3 Saxophones (trio)
3
Ensemble de Flûtes
3
Saxophone (partie séparée)
3
3 Clarinettes (trio)
2
Flûte traversière
2
Clarinette (partie séparée)
2
Quintette de Clarinettes: 5 clarinettes
2
Ensemble de saxophones
2
Quintette de Flûte : 5 flûtes
2
Saxophone Alto
2
2 Flûtes traversières (duo)
2
Flûte, Clarinette et Basson
1
Clarinette
1
Flûte, Saxophone (duo)
1
Clarinette Basse, Piano
1
Saxophone Baryton, Piano
1
Trio de Flûtes: 3 flûtes
1
Saxophone Tenor
1
Flûte, Clarinette (duo)
1
Flûte et Guitare
1
Hautbois (partie séparée)
1
Saxophone, Clarinette (duo)
1
Flûte à Bec
1
Flûte, Violon
1
+ 33 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
Quatuor de Cuivres
10
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Trompette, Piano
7
2 Trombones (duo)
3
Trombone (partie séparée)
3
Trompette (partie séparée)
3
Cor et Piano
3
Trompette
3
Cor (partie séparée)
2
2 Trompettes (duo)
2
Quatuor de cuivres: 4 cors
2
2 Cors (duo)
2
Trombone
2
Trombone et Piano
2
3 Trombones (trio)
1
Euphonium, Tuba (duo)
1
Ensemble de Trombones
1
Tuba (partie séparée)
1
Quatuor de cuivres: 4 trombones
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Ensemble de Trompettes
1
+ 17 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
32
Violon et Piano
20
Alto, Piano
18
Violon, Violoncelle (duo)
10
Trio à Cordes: violon, alto, violoncelle
7
2 Violons (duo)
6
Violoncelle, Piano
5
Trio à Cordes: 2 violons, violoncelle
4
Violon, Alto (duo)
3
Harpe
3
Violon
3
2 Violoncelles (duo)
3
Violoncelle
3
Harpe, Voix
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Violon (partie séparée)
1
+ 11 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
44
Orchestre
18
Ensemble Jazz
15
Ensemble de cuivres
6
Orchestre à Cordes
5
Marimba
4
Cloches
4
Orchestre de chambre
4
Jazz combo
3
Vibraphone
2
Percussion (partie séparée)
2
Ensemble de Percussions
1
+ 7 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
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VIELLE A RO…
VIOLE DE GA…
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VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
Tri et filtres :
--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
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VIOLONCELLE
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
After The Ball
SheetMusicPlus
Partitions à imprimer
901 partitions trouvées
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901
Colores (Let the Children Teach Us)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.12…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together.  Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others.  Another child joins.  They introduce themselves and begin to talk to each other.  A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter.  After the introductions and lively conversations, they pause to decide what to do next.  As would be expected, they decide to just play.  They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone.  Settling down, and wondering what to do next, one child begins singing a tune that is familiar.  …but not to all of them.  So, it’s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in.  Before it’s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance.  They twist and spin, jump and swing, making up their moves as they go along.  But, as before, their energy wanes.  This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant — a prayer.Some join his prayer, as others add a familiar religious tune.  They pray and sing, and their separate experiences combine to produce a stirring, blended chorale.  As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them.  Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette.  Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals.  The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration.  It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together.  …who are grateful for the time and experiences they share.
$35.00
32.21 €
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Lon W
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Colores
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LCS Productions
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SheetMusicPlus
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99
9.19 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobscot River
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Thomas Oboe Lee
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SheetMusicPlus
Love's Dream After the Ball
Piano seul
Piano - Digital Download SKU: LV.10424 Composed by A. Czibulka. Ballroom dancing, C…
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Piano - Digital Download SKU: LV.10424 Composed by A. Czibulka. Ballroom dancing, Cupids, Couples. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.10424). Love's Dream After the Ball. by A. Czibulka. Published [n.d.] by Victor Kremer Company in Chicago. Composition of sectional with piano instrumentation. Subject headings for this piece include Ballroom dancing, Cupids, Couples. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.51 €
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Piano seul
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A
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Love's Dream After the Ball
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Celtic Harp on the Prairie
Harpe, Voix
Voice, Harp - Intermediate - Digital Download Arranged by David Sullivan. Folk, Old-t…
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Voice, Harp - Intermediate - Digital Download Arranged by David Sullivan. Folk, Old-time, Americana. 48 pages. Published by Afghan Press Music for the Harp
Wonderful tunes that came out of nineteenth century America. Many of the pieces are well known, but received a fresh setting that would be playable on the harp. A few tunes are less well known, or even obscure, but were chosen for their artful melodies. The arrangements translate well on the piano as well as the harp, and Mr. Sullivan also includes guitar chords and lyrics. You'll revive the "Parlor Tradition" of days gone by and make these old tunes live again is part of your own musical tradition. There is a brief historical paragraph on each tune. One interesting piece is the "Persian Princess Waltz." It is from a 1901 method book for the reed organ. This method book was discovered in Mr. Sullivan's garage and was autographed by the author, Mattie Pirtle.<br> Contains:<br> <br> After the Ball<br> Aura Lee<br> Beautiful Dreamer<br> Gentle Annie<br> Grandfather's Clock<br> Jeanie with the Light Brown Hair<br> Juanita<br> Merry Widow Waltz<br> Minstrel Boy<br> Listen to the Mockingbird<br> Mollie Darling<br> Oh Susanna<br> Persian Princess Waltz<br> Red River Valley<br> Shenandoah<br> Silver Threads<br> Starry Waves<br> When You and I Were Young Maggie<br> Whispering HopeWonderful tunes that came out of nineteenth century America. Many of the pieces are well known, but received a fresh setting that would be playable on the harp. A few tunes are less well known, or even obscure, but were chosen for their artful melodies. The arrangements translate well on the piano as well as the harp, and Mr. Sullivan also includes guitar chords and lyrics. You'll revive the "Parlor Tradition" of days gone by and make these old tunes live again is part of your own musical tradition. There is a brief historical paragraph on each tune. One interesting piece is the "Persian Princess Waltz." It is from a 1901 method book for the reed organ. This method book was discovered in Mr. Sullivan's garage and was autographed by the author, Mattie Pirtle.<br> Contains:<br> <br> After the Ball<br> Aura Lee<br> Beautiful Dreamer<br> Gentle Annie<br> Grandfather's Clock<br> Jeanie with the Light Brown Hair<br> Juanita<br> Merry Widow Waltz<br> Minstrel Boy<br> Listen to the Mockingbird<br> Mollie Darling<br> Oh Susanna<br> Persian Princess Waltz<br> Red River Valley<br> Shenandoah<br> Silver Threads<br> Starry Waves<br> When You and I Were Young Maggie<br> Whispering Hope
$16.00
14.72 €
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Harpe, Voix
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David Sullivan
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Celtic Harp on the Prairie
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Afghan Press Music for the Harp
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SheetMusicPlus
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
Saxophone Soprano et Piano
Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download
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Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Folk,Holiday,Romantic Period. Score and parts. 17 pages. Musik Fabrik Music Publishing #1986205. Published by Musik Fabrik Music Publishing (A0.533210). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (c was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time). He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Divertissement sur Une Ballade Irlandaise begins with a lyric introduction in bel canto style. The Irish Ballade is named in the score as « My Lodging is on the Cold Ground », but is sometimes known as « Believe Me If All Those Endearing Young Charms » and is followed by a brilliant variation. After an ornamented modal passage in 6/8, the allemande theme is presented first in a moderate tempo, and then in a more rapid variant which uses « cross string » figerations similar to those used by fiddlers.
$11.95
11 €
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Saxophone Soprano et Piano
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Ali Ben Sou Alle
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Paul Wehage
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Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Snow Queen, A Ballet in 3 Acts, PIANO VOCAL SCORE
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730418 Composed by Ja…
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Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730418 Composed by James Nathaniel Holland. Children,Christmas,Contemporary,Holiday. Score. 150 pages. James Nathaniel Holland #3376293. Published by James Nathaniel Holland (A0.730418). The Piano Vocal Score (with SA Chorus) New Contemporary Classical Music from American Costa Rican composer James Nathaniel Holland in his masterful ballet adaptation of Hans Christian Andersen's classic tale, The Snow Queen. Ballet yet to be premiered. Be the first to produce it! Highlights are The Dance of the Evil Snow Sprite and the Distorted Mirror, Innocence and Kai and Gerde's Special Friendship, The Waltz of the Roses ('Think of my love as a Rose'), The Waltz of the Snowflakes (Snowbees), Gerde Morns Kai's Death, The Suite of the Lady of Spring (Tale of the Tiger Lillies, The Dream of the Morning Glories, The Tale of the Snowdrops, the Hyacinth's Tale), The Waltz of the Summer Palace, Dance of the Thieves and Kai's Joyous Dance Finale. Ballet Synopsis: Evil Snow Sprites make a mirror that reflects all that is mean and evil. When it shatters, its splinters drift to the far corners of the world. Gerde and Kai are two poor children who live in Copenhagen in the early 19th Century. They live innocently with their parents and Grandmother and tend a rooftop rose garden. One winter night Kai meets the Snow Queen and a splinter from the mirror enters his eye. The Snow Queen returns and abducts Kai. Although accepted as dead, Gerde deeply feels otherwise and begins her quest to find her friend, traveling through the four seasons, sometimes beautiful and sometimes frightening. The Lady of Spring takes her as an addition to her fantastical garden filled with tales and dreams of the flowers who dwell there. But when Gerde sees the rose on Spring's bonnet she wakes from her enchantment. Her tears spring back the roses who tell her Kai is not dead. She flees from the garden. Gerde grows up in the wilderness and a crow says that he has seen Kai at the Palace of the Queen of Summer. They hurry there to find a magnificent ball in progress. Gerde is introduced to the Kai lookalike but knows something is not right. The Queen of Summer helps Gerde on her way and lends her a coach and gives her a magic red rose that will never fade.As coach searches for Kai, it enters the season of Autumn and is accosted by robber girl and a band of theives. They dance in an rousing, energetic dance taunting her. When the morning comes Gerde tells her fellow captive animals of her quest to find Kai and that all hope is lost. The pigeons finally tell Gerde that Kai was abducted by the Snow Queen many years ago. The robber girl overhears them and has a change of heart letting her go with her reindeer to the far North of the Snow Queen.Gerde finds Kai in the palace of the Snow Queen piecing together the evil mirror. She gives Kai up for dead but leaves the rose of summer beside him. Kai spots the rose and he sheds a tear. The splinter falls out and he completes the mirror.They head back for home to their families were there is a big finale of a beautiful wedding on a late summer day and live happily ever after.YouTube Complete Ballet presentation: https://youtu.be/-zDAJ-Ttw70Composer website: http://lacoronadelossantos.net/jamesnathanielholland.htmlTwo part performance CDs sold separately. Full score and parts sold separately. Many arrangements of the Waltz of the Roses ('Think of my love as a Rose'), The Lady of Spring and her Garden, and the Waltz of the Summer Palace sold separately. Orchestral Scores and Parts sold separately.
$19.95
18.36 €
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James Nathaniel Holland
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The Snow Queen, A Ballet in 3 Acts, PIANO VOCAL SCORE
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James Nathaniel Holland
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SheetMusicPlus
Aria from the Opera Orfeo ed Euridice for Brass Quintet (French Horn solo)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.
$8.99
8.27 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Christoph Willibald Gluck,
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Keith Terrett
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Aria from the Opera Orfeo ed Euridice for Brass Quintet
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Keith Terrett
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SheetMusicPlus
AFTER THE BALL
High Voice,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.913651 Comp…
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High Voice,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.913651 Composed by CHARLES HARRIS. Arranged by Clay Boland Jr. Folk,Traditional. Score and individual part. 5 pages. BOLAND MUSIC LLC, P.O. BOX 493, CARBONDALE, CO 81623 #3436637. Published by BOLAND MUSIC LLC, P.O. BOX 493, CARBONDALE, CO 81623 (A0.913651). THE BEST-SELLING SENSATION OF THE 1890’S. IT MADE ITS CREATOR/ PUBLISHER CHARLESHARRIS A MILLIONAIRE. TELLS OF THE HEARTBREAK MANY EXPERIENCE AFTER SEEING THE LOVE OF THEIR LIFE FLIRT WITH OR KISS SOMEBODY ELSE AT THE BALL.
$4.56
4.2 €
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CHARLES HARRIS
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Clay Boland Jr
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AFTER THE BALL
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BOLAND MUSIC LLC, P.O. BOX 493, CARBONDALE, CO 81623
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SheetMusicPlus
Grechaninov - After the Ball in D Major - Easy
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1110453 Composed by Alexandr Grecha…
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Piano Solo - Level 1 - Digital Download SKU: A0.1110453 Composed by Alexandr Grechaninov. Arranged by Piacere Music Sheets. Children,Instructional,Romantic Period,Standards. Score. 3 pages. Piacere Music Sheets #712763. Published by Piacere Music Sheets (A0.1110453). Opus/Catalog Number: Op. 98, No. 13 Key/Tone: D Major Movements/Sections: Tempo di marcia Year/Date of Composition: 1923 Difficulty: Grade 3/12 (Easy) Obs.: This lovely piece is the thirteenth selection in Grechaninov's Children's Album, Op. 98. Also known as Après le Bal - Nach dem Balle
$2.95
2.71 €
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Piano seul
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Alexandr Grechaninov
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Piacere Music Sheets
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Grechaninov - After the Ball in D Major - Easy
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Piacere Music Sheets
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SheetMusicPlus
The Cat's Aria
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1486292 Composed by Rachel J…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1486292 Composed by Rachel J. Peters. 21st Century,Comedy,Opera. Score. 11 pages. Rachel J Peters #1063353. Published by Rachel J Peters (A0.1486292). Aria for dramatic soprano from the opera Three AmputatorsLibretto by Royce VavrekThree Amputators is an opera-in-progress after the story “The Three Army Surgeons” by the Brothers Grimm. The opera tells of three travelling doctors who seek lodging for a night, offering the establishment’s innkeeper a demonstration of their unbelievable skills: they can cut out parts of their own bodies only to reattach them later with the aid of a proprietary salve. After one removes a hand, another their heart, and the third their eyeballs, an enigmatic cat appears on the scene to dine on the flesh and throw the course of the story into disarray. This is a contemporary interpretation of one of the Grimm’s most eccentric of tales. The character of the insatiable Cat is inspired by our national hero, Fran Lebowitz.The aria premiered in Norway. If you are performing it in any other country, you can claim a national premiere! Full score and parts can also be made available upon request for performances with orchestra. Visit www.racheljpeters.com for more information.DURATION: 4:30WORLD PREMIERE: Oslo Chamber Music Festival, 2023.
$6.00
5.52 €
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Piano, Voix
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Rachel J
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The Cat's Aria
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Rachel J Peters
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SheetMusicPlus
Maggie After The Ball
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1478300 By A Popular Parody …
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1478300 By A Popular Parody of Charles K. Harris' After the Ball. By Unknown. Arranged by Jamie H. Whittier. 19th Century,Comedy,Historic. Score. 1 pages. Jamie H. Whittier #1055677. Published by Jamie H. Whittier (A0.1478300). Maggie After the Ball is a humorous parody of the popular 1891 song After the Ball, which was composed by Charles K. Harris. The parody version you mentioned, which includes lyrics about Maggie's false teeth and glass eye, is an example of how popular songs are often transformed into comedic versions by various artists and performers over time. The original song by Charles K. Harris was a huge hit in its time and became one of the best-selling sheet music of the 19th century. This version is the version my grandmother remembers!
$2.99
2.75 €
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Piano, Voix
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A Popular Parody of Charles K
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Jamie H
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Maggie After The Ball
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Jamie H. Whittier
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SheetMusicPlus
Take Me Out To The Ball Game for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.72…
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.722757 Composed by Albert Von Tilzer. Arranged by Jari A. Villanueva. 20th Century,Folk,Holiday,Patriotic,Traditional. Score and parts. 9 pages. JV MUSIC #3484197. Published by JV MUSIC (A0.722757). Take Me Out To The Ball Game for Woodwind QuintetA delightful setting of the iconic baseball tune for Woodwind Quintet by Jari VillanuevaA young lady by the name of Katie was a devoted baseball fanatic. In fact almost every penny she had was spent on tickets to see her favorite team. Her boyfriend wanted to take her to see a show on a weekend afternoon but Katie declined instead insisting on going to the ballpark. This was not uncommon for her as she attended every home game sitting where she could call the players (usually by the first name) and let the umpires have it when an unfavorable ruling was made. In the heat of a game when the score was tied Katie would get other fans to cheer on the team by singing.https://www.youtube.com/watch?v=OWgCdUlmtpY
$12.00
11.04 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Albert Von Tilzer
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Jari A
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Take Me Out To The Ball Game for Woodwind Quintet
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JV MUSIC
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.85 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.85 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
After The Ball
Piano grosses notes
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.455541 This…
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Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.455541 This edition: scorch. E-Z Play Today. Classical,Folk,Standards. Score. 2 pages. Hal Leonard - Digital #6460. Published by Hal Leonard - Digital (HX.455541). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
2.75 €
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Piano grosses notes
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After The Ball
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Hal Leonard - Digital
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SheetMusicPlus
Baseball Theme - Take Me Out to the Ballgame (for Jazz/Stage Band)
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.872915 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.872915 Composed by VonTilzer. Arranged by P.A. Drahozal. Blues,Folk,Holiday,Jazz,Patriotic. Score and parts. 50 pages. MusicPAD Music Publications #6294903. Published by MusicPAD Music Publications (A0.872915). This is the traditional baseball theme (Take Me Out to the Ballgame) set in an energetic jazz band swing chart. After a brief intro to lay it down, the melody starts in a lazy swing tempo with a lilting alto solo (a-la street player in front of the park) and soon builds to a full ensemble shout then a lively up-tempo accentuated by energetic interjections. There is an open solo section before the head is repeated with a typical Tin-Pan-Alley ending. Logical rehearsal marks and generous technique items make rehearsal a snap! Ossia notes (lead trumpet) are included for developing / younger artists. This is a super-duper exciting and moderately challenging chart which really showcases your band and the jazz band at its very finest. The included MIDI playback file here is taken from the original layout in an effort to show the most accurate portrayal of this arrangement.
$1.99
1.83 €
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Ensemble Jazz
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VonTilzer
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P
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Baseball Theme - Take Me Out to the Ballgame
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MusicPAD Music Publications
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SheetMusicPlus
Charles K. Harris-After the Ball,in D Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669790 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669790 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573915. Published by Open Cloud (A0.669790). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
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Piano, Voix
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Charles K
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MSM
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Charles K. Harris-After the Ball,in D Major,for Voice and Piano
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Open Cloud
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SheetMusicPlus
Charles K. Harris-After the Ball,in B Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669793 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669793 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573921. Published by Open Cloud (A0.669793). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
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Piano, Voix
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Charles K
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MSM
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Charles K. Harris-After the Ball,in B Major,for Voice and Piano
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Open Cloud
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SheetMusicPlus
Charles K. Harris-After the Ball,in A flat Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669794 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669794 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573923. Published by Open Cloud (A0.669794). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
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Piano, Voix
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Charles K
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MSM
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Charles K. Harris-After the Ball,in A flat Major,for Voice and Piano
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Open Cloud
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SheetMusicPlus
Charles K. Harris-After the Ball,in D flat Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669789 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669789 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573913. Published by Open Cloud (A0.669789). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
#
Piano, Voix
#
Charles K
#
MSM
#
Charles K. Harris-After the Ball,in D flat Major,for Voice and Piano
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Open Cloud
#
SheetMusicPlus
Charles K. Harris-After the Ball,in G flat Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669787 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669787 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573909. Published by Open Cloud (A0.669787). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
#
Piano, Voix
#
Charles K
#
MSM
#
Charles K. Harris-After the Ball,in G flat Major,for Voice and Piano
#
Open Cloud
#
SheetMusicPlus
Charles K. Harris-After the Ball,in B flat Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669786 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669786 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573907. Published by Open Cloud (A0.669786). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
#
Piano, Voix
#
Charles K
#
MSM
#
Charles K. Harris-After the Ball,in B flat Major,for Voice and Piano
#
Open Cloud
#
SheetMusicPlus
Charles K. Harris-After the Ball,in G Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669792 Composed by Charles K…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669792 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573919. Published by Open Cloud (A0.669792). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
#
Piano, Voix
#
Charles K
#
MSM
#
Charles K. Harris-After the Ball,in G Major,for Voice and Piano
#
Open Cloud
#
SheetMusicPlus
Charles K. Harris-After the Ball,in C Major,for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669791 Composed by Charles K…
(+)
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.669791 Composed by Charles K.Harris. Arranged by MSM. Classical,Romantic Period. Score. 12 pages. Open Cloud #4573917. Published by Open Cloud (A0.669791). This product(include full and parts score) is a digital sheet music in PDF format. The popular song was composed by Charles K.Harris, for Voice and Piano, first published in 1892. *If this work was first published after 1923, we are sure it was in the public domain.We take copyright very seriously.
$4.99
4.59 €
#
Piano, Voix
#
Charles K
#
MSM
#
Charles K. Harris-After the Ball,in C Major,for Voice and Piano
#
Open Cloud
#
SheetMusicPlus
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