Ain't But The One - Partitions musicales à imprimer - Mondial de la partition numérique

1 983 partitions trouvées

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1976

The Story Of Reuben Clamzo & His Strange Daughter

Chorale TTBB

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…(+)

$3.99 3.58 € #Chorale TTBB #Arlo Guthrie #Craig Hanson #The Story Of Reuben Clamzo & His Strange Daughter #Edition Craig Hanson #SheetMusicPlus

MARY ~ ELAINE

Saxophone Tenor et Piano

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Te…(+)

$4.99 4.47 € #Saxophone Tenor et Piano #Joe Procopio #the vocalist/bassist I #MARY ~ ELAINE #JoeCopio Music LLC #SheetMusicPlus

LILLY'S DANCE (THE TUMBLER)

Saxophone Tenor et Piano

Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Te…(+)

$4.99 4.47 € #Saxophone Tenor et Piano #Joe Procopio #the vocalist/bassist I #LILLY'S DANCE #JoeCopio Music LLC #SheetMusicPlus

CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)

2 Pianos, 4 mains

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…(+)

$20.00 17.92 € #2 Pianos, 4 mains #dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians #Jenni Roditi #CURVE, Between the Octaves - A Piano Duo Suite #Jenni Roditi #SheetMusicPlus

Too Much For Our Thirst (Trombone and Piano)

Trombone et Piano

Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexa…(+)

$9.99 8.95 € #Trombone et Piano #Alexander Burdiss #Too Much For Our Thirst #Ars Nova Press #SheetMusicPlus

Brass Quintet - Three Pastoral Sketches

Quatuor de Cuivres : 2 trompettes, trombone, tuba

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578(+)

$28.00 25.09 € #Quatuor de Cuivres : 2 trompettes, trombone, tuba #Mike Lyons #Brass Quintet - Three Pastoral Sketches #Lyons Music Services #SheetMusicPlus

Heroic Music - A Suite of Twelve Marches (Complete) (Brass Quintet - 2 Trp, 1 Hrn, 1 Trb, 1 Tuba, T)

Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1175705(+)

$128.00 114.72 € #Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba #Georg Philipp Telemann #Regis Bookshar #No #Heroic Music - A Suite of Twelve Marches #Regis Bookshar #SheetMusicPlus

De facto Anthems of the Confederate States of America
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746742(+)

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746742 Composed by Charles W.A Ellerbrook, Daniel Adams Butterfield, Daniel Decatur Dan Emmett ( 1815 â€“ 1904), and Valentine Vousden. Arranged by Keith Terrett. Contemporary,Multicultural,Patriotic,Traditional,World. 39 pages. Keith Terrett #2941995. Published by Keith Terrett (A0.746742). De facto Anthems of the Confederate States of America ''I Wish I Was in Dixie & Taps''- ''God Save the South No. 1'' - The Bonnie Blue Flag, ''God Save the South No. 2'', arranged for Brass Quintet & Percussion.The Confederate States of America (also referred to as The Confederacy or simply The South) had, like the United States at the time, several patriotic songs in use which could have been considered anthems, like Dixie, The Bonnie Blue Flag, and God Save the South, none of which were officially declared (possibly because declaring an official anthem wasnâ€™t as important to a new nation then as it is now). God Save the South does have more of an anthemaic quality in the music and lyrics, and several publications of the song refer to it as a (or the) anthem, and was also the first song to be published in the Confederacy (which was subsequently published in at least nine editions).God Save the South was written by George H. Miles under the pseudonym Earnest Halphin, soon after the war started. Miles was a Marylander, a state that did not officially secede and join the confederacy, but, being a border state, had several citizens with sympathies for the south. An interesting thing to note about the song is the reference to George Washington (the first president of the United States) in the songâ€™s fifth verse. Apparently, the author of the song meant to tie in Washingtonâ€™s stance as a rebel against the British in the American revolution with the Southâ€™s rebellion against the northern United States in the civil war.The music was written by C. W. A. Ellerbock, but another tune by C. T. De CÅ“niÃ©l was also popular at the time as well. (Ellerbockâ€™s version, however, seems to be the original.)For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores:http://www.scoreexchange.com/profiles/keith_terrethttp://musicforalloccasions.org.ukhttp://www.sheetmusicplus.com/search?Ntt=keith+terrettNeed an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comIf you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$19.99 17.92 € #Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba #Charles W #Keith Terrett #De facto Anthems of the Confederate States of America #Keith Terrett #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Saxophone Quintet - 2 Alto, 2 Tenor, 1 Ba
Quintette de Saxophone: 5 saxophones

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…(+)

Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.813832 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 19 pages. Regis Bookshar #6533927. Published by Regis Bookshar (A0.813832). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Saxophone Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (19 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Saxophone Quintet, consisting of 2 Alto Saxophones, 2 Tenor Saxophones and 1 Baritone Saxophone, he has made quite a few other arrangements.
$15.00 13.44 € #Quintette de Saxophone: 5 saxophones #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
2 Pianos, 4 mains

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…(+)

Instrumental Duet,Keyboard - Digital Download 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 17.92 € #2 Pianos, 4 mains #dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians #Jenni Roditi #SURRENDER, Between the Octaves, A Piano Duo Suite #Jenni Roditi #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Trombone Quintet)
Ensemble de Trombones

Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.813838 Composed by Ant…(+)

Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.813838 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533945. Published by Regis Bookshar (A0.813838). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Trombone Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Trombone Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instru.
$15.00 13.44 € #Ensemble de Trombones #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

Ain't But The One

Rhythm Section Horn,Voice - Digital Download SKU: A0.793767 Composed by Duke Elling…(+)

Rhythm Section Horn,Voice - Digital Download SKU: A0.793767 Composed by Duke Ellington. Arranged by DIXON mus-IC. Contemporary. 37 pages. Rammy Music #4366976. Published by Rammy Music (A0.793767). This arrangement is based on the Aretha Franklin & Ray Charles version - in C.The vocal parts are female lead, male lead & 3 backing vocals. The BVs could be individual singers or a small choir.The rhythm section parts are for keys, guitar, bass & drums.The horn section parts are for trumpet, alto sax, tenor sax & trombone. There is also a full transposed score for reference.The arrangement is slightly different from the original to accommodate live performance. There is an open solo section (16 bars) and an ending figure. These could be easily ignored if you want to be totally like the original. The parts are laid out very clearly. They are lead sheet style with a minimum of notation - just suggestions for the groove, but again these can be easily ignored. .
$24.99 22.4 € #Duke Ellington #DIXON mus-IC #Ray Charles version - in C #Ain't But The One #Rammy Music #SheetMusicPlus

RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
2 Pianos, 4 mains

Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…(+)

Instrumental Duet,Keyboard - Level 4 - Digital Download 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 17.92 € #2 Pianos, 4 mains #dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians #Jenni Roditi #RITUALISE, Between the Octaves - A Piano Duo Suite #Jenni Roditi #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Brass Quintet - 3 Trp, 1 Trb, 1 Tuba)
Quatuor de Cuivres : 2 trompettes, trombone, tuba

Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813824 Co…(+)

Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813824 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533897. Published by Regis Bookshar (A0.813824). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Brass Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Brass Quintet, but in this case, consisting of 3 Trumpets, 1 Trombone and 1 Tuba, he has made quite a few other arrangements of this selection.
$15.00 13.44 € #Quatuor de Cuivres : 2 trompettes, trombone, tuba #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
2 Pianos, 4 mains

Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by…(+)

Instrumental Duet,Keyboard - Level 4 - Digital Download 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 17.92 € #2 Pianos, 4 mains #dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians #Jenni Roditi #ENCIRCLE, Between the Octaves - A Piano Duo Suite #Jenni Roditi #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Brass Quintet - 2 Trp, 1 Hrn, 1 Trb, 1 Tu
Quatuor de Cuivres : 2 trompettes, trombone, tuba

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813823(+)

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.813823 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533895. Published by Regis Bookshar (A0.813823). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Brass Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Brass Quintet, consisting of 2 Trumpets, 1 French Horn, 1 Trombone and 1 Tuba, he has made quite a few other arrangements of this selectio.
$15.00 13.44 € #Quatuor de Cuivres : 2 trompettes, trombone, tuba #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Tenor Saxophone Quintet)
Quintette de Saxophone: 5 saxophones

Saxophone Quintet,Woodwind Ensemble Tenor Saxophone - Level 3 - Digital Download SKU: A…(+)

Saxophone Quintet,Woodwind Ensemble Tenor Saxophone - Level 3 - Digital Download SKU: A0.813836 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 19 pages. Regis Bookshar #6533941. Published by Regis Bookshar (A0.813836). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Tenor Saxophone Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (19 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Tenor Saxophone Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety.
$15.00 13.44 € #Quintette de Saxophone: 5 saxophones #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

Largo (from "Symphony No. 9") ("From the New World") (Db) (Alto Saxophone Quintet)
Quintette de Saxophone: 5 saxophones

Saxophone Quintet,Woodwind Ensemble Alto Saxophone - Level 3 - Digital Download SKU: A0…(+)

Saxophone Quintet,Woodwind Ensemble Alto Saxophone - Level 3 - Digital Download SKU: A0.813820 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 18 pages. Regis Bookshar #6533331. Published by Regis Bookshar (A0.813820). Largo (from Symphony No. 9 in E minor) (From the New World) (Alto Saxophone Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:â€ƒâ€ƒâ€ƒâ€ƒI am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:â€ƒâ€ƒI have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for an Alto Saxophone Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety o.
$15.00 13.44 € #Quintette de Saxophone: 5 saxophones #Antonin Dvorak #Regis Bookshar #Largo #Regis Bookshar #SheetMusicPlus

THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
2 Pianos, 4 mains

Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…(+)

Instrumental Duet,Keyboard - Digital Download 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 17.92 € #2 Pianos, 4 mains #dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians #Jenni Roditi #THREAD, Between the Octaves A Piano Duo Suite #Jenni Roditi #SheetMusicPlus

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