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ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
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CHORALE - CHAN…
CITHARE
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COR ANGLAIS
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3619
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1458
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1274
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968
Instruments en Do
963
Orgue
383
Accompagnement Piano
116
Piano Trio: piano, violon, violoncelle
73
1 Piano, 4 mains
71
Piano grosses notes
40
Piano Quatuor: piano, 2 violons, violoncelle
32
Piano Quatuor: piano, violon, alto, violoncelle
32
Piano Quintette: piano, 2 violons, alto, violoncelle
20
Accordéon
13
2 Pianos, 4 mains
10
Orgue, Trompette (duo)
9
Piano (partie séparée)
8
Orgue, Piano (duo)
6
Clavier
5
Clavecin
4
1 Piano, 6 mains
3
Ligne De Mélodie, Piano
2
2 Pianos, 8 mains
1
Orgue et Orchestre
1
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GUITARES
Guitare notes et tablatures
289
Guitare
284
Ligne De Mélodie, (Paroles) et Accords
190
Ukulele
79
Basse electrique
49
2 Guitares (duo)
45
Piano, Guitare (duo)
38
Guitare (partie séparée)
14
Paroles et Accords
12
3 Guitares (trio)
11
Mandoline
11
Dulcimer
10
4 Guitares (Quatuor)
10
2 Ukuleles
6
Banjo
5
Ensemble de Ukulélés
2
2 Dulcimers (duo)
1
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VOIX
Chorale SATB
1926
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855
Chorale 3 parties
754
Chorale TTBB
326
Chorale Unison
316
Voix duo, Piano
273
Chorale SSAA
124
Voix duo
107
Pack Instrumental pour Chorale
106
Voix Soprano, Piano
82
Voix Alto, Piano
82
Voix Tenor, Piano
79
Voix seule
42
Voix Baryton, Piano
41
Voix haute
14
Voix basse, Piano
11
Chorale SSATB
7
Voix Tenor
7
Chorale
5
Chorale SSAATTBB
5
Voix moyenne, Piano
5
Voix Mezzo-Soprano, Piano
4
Chorale SSATTB
2
Voix Soprano
2
Chorale SAATB A Cappella
1
Voix, Guitare
1
Chorale SSAB, Piano
1
Voix basse
1
Chorale SSAB a cappella
1
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VENTS
2 Saxophones (duo)
648
Flûte traversière et Piano
535
Quatuor de Saxophones: 4 saxophones
497
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
492
Quintette de Saxophone: 5 saxophones
450
Hautbois, Piano (duo)
388
Flûte traversière
371
Clarinette et Piano
370
Flûte, Hautbois, Clarinette, Basson
364
Clarinette
335
2 Clarinettes (duo)
312
Saxophone Alto et Piano
308
Saxophone Alto
303
2 Flûtes traversières (duo)
297
Saxophone Tenor et Piano
292
Saxophone (partie séparée)
255
Saxophone Tenor
255
Saxophone Soprano et Piano
233
Hautbois (partie séparée)
172
Flûte, Clarinette (duo)
148
2 Hautbois (duo)
146
Saxophone, Clarinette (duo)
145
Saxophone Baryton, Piano
140
Clarinette, Violon (duo)
139
Ensemble de saxophones
128
Quintette de Clarinettes: 5 clarinettes
124
Quatuor de Clarinettes: 4 clarinettes
120
2 Flûte à bec (duo)
117
Clarinette, Trompette (duo)
109
Ensemble de Clarinettes
103
3 Saxophones (trio)
93
Quatuor de Flûtes : 4 flûtes
90
Quintette de Flûte : 5 flûtes
88
Hautbois, Basson (duo)
88
Hautbois, Clarinette (duo)
86
Flûte, Violon
81
Hautbois
76
Flûte, Alto (duo)
70
Ensemble de Flûtes
66
Clarinette et Alto
65
Cor anglais, Piano
58
3 Clarinettes (trio)
58
Flûte, Saxophone (duo)
57
Flûte, Trompette (duo)
50
Trio de Flûtes: 3 flûtes
50
Hautbois, Flûte
48
Flûte et Guitare
47
Clarinette (partie séparée)
41
Saxophone Soprano
38
Flûte, Clarinette et Basson
37
Flûte à bec Soprano
36
Saxophone Baryton
33
Ensemble De Flûte à bec
32
Flûte, Hautbois (duo)
31
Flûte, Hautbois, Clarinette (trio)
27
Clarinette, Basson (duo)
27
Flute (partie séparée)
24
Flûte, Violoncelle
22
Flûte à bec Alto
21
Flûte à Bec
21
Flûte, Clarinette, Piano (trio)
20
Clarinette Basse, Piano
19
Hautbois, violon (duo)
19
Hautbois, Violoncelle
18
Cor Anglais
18
Flûte, Violon et Violoncelle
17
Clarinette, Violoncelle (duo)
15
Quatuor de Flûtes à bec
15
Clarinette, Trombone (duo)
15
Flûte, Hautbois, Basson
14
Clarinette, Guitare (duo)
14
Flûte, Violoncelle, Piano (trio)
14
Flûte, Violon, Piano
13
Hautbois, Clarinette, Basson (trio d'anches)
13
Flûte, Hautbois, Piano (trio)
13
Clarinette, Violoncelle, Piano (trio)
12
Flûte, Alto et Piano
11
Flûte à bec Tenor
11
Flûte, Clarinette, Cor, Basson (Quartet)
10
5 Flûtes à bec
10
Hautbois et alto (duo)
10
Harmonica
9
Saxophone et Orgue
9
2 Clarinettes, Piano
9
Flûte, Basson et Piano
9
Flûte à bec Soprano, Piano
8
Flûte à bec Alto, Piano
7
2 Flûtes traversières, Piano
7
Flûte, Violon, Violoncelle et Piano
6
Piccolo, Piano
6
3 Flûtes à bec (trio)
6
Flûte, trombone et piano
6
Flûte, Violoncelle, Guitare
6
Clarinette, Harpe (duo)
5
2 Saxophones, Piano
5
Flûte, Trombone (duo)
5
Cor anglais, Guitare (duo)
5
Clarinette, Alto et Piano (trio)
5
Clarinette, Basson, Piano (trio)
5
Clarinette, Contrebasse (duo)
5
Clarinette, Orgue
4
3 Hautbois
4
Ocarina
4
Clarinette, Tuba
4
4 Hautbois
3
Saxophone
3
Clarinette Basse
3
Piccolo
3
Hautbois, Violon, Piano
3
Flûte, Tuba (duo)
3
Hautbois, Harpe
3
Clarinette, trompette et piano
3
Hautbois, Guitare (duo)
2
Hautbois, trombone (duo)
2
Saxophone et Harpe
2
Ensemble de Hautbois
2
Flûte traversière, Orgue (duo)
1
Flûte, Harpe et Violoncelle
1
Hautbois, Basson et Piano
1
2 Flûtes à bec, Piano
1
Saxophone et Guitare
1
Flute, harpe et violon
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte et Trio à cordes
1
Flûte irlandaise
1
Hautbois, Trompette (duo)
1
Harmonica, Piano
1
Instruments en Mib
1
Saxophone, Violon (duo)
1
2 Hautbois, 2 Cors et 2 Bassons
1
Ensemble à vent
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte à Bec, Piano
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
477
Trombone et Piano
352
Trompette
341
Trompette, Piano
302
Trombone
271
Cor et Piano
254
Cor
242
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235
Quatuor de Cuivres: 2 trompettes, Cor, trombone
224
2 Trompettes (duo)
176
Tuba et Piano
175
2 Trombones (duo)
169
Tuba
158
Trompette, Trombone (duo)
122
Quatuor de Cuivres
116
Trompette, Saxophone (duo)
106
Ensemble de Trompettes
98
2 Cors (duo)
89
Trompette (partie séparée)
86
Trombone (partie séparée)
67
Cor anglais, Piano
58
Euphonium, Piano (duo)
56
Ensemble de Trombones
50
Trompette, Cor (duo)
49
2 Tubas (duo)
42
Quatuor de cuivres: 4 trombones
36
Cor (partie séparée)
27
Quatuor de cuivres: 4 cors
22
Cor Anglais
18
Trio de Cuivres
16
Quatuor de cuivres: 4 trompettes
15
Ensemble de Cors
14
Euphonium
13
2 Euphoniums (duo)
12
2 Euphoniums et 2 Tubas
11
Quatuor de cuivres: 2 trompettes, 2 trombones
9
Tuba (partie séparée)
9
Trompette, Basson (duo)
8
Trombone, Tuba (duo)
8
Cor, Violoncelle (duo)
7
3 Trombones (trio)
7
Trompette, Violoncelle (duo)
7
Tuba et Orgue
6
Cor anglais, Guitare (duo)
5
Trompette, Harpe
5
Trompette et Guitare
5
4 Tubas
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Cor et Basson (duo)
4
Cor et Harpe
4
Cor, Tuba (duo)
3
Trompette, Trombone, Piano
3
3 Cors (trio)
3
3 Trompettes (trio)
3
Trombone, Violon (duo)
3
Trompette, Tuba (duo)
3
Trombone, Cor (duo)
3
Instruments en Sib
2
3 Tubas (trio)
2
Trompette, Violoncelle et Piano
2
Cor et Orgue
2
Euphonium, Tuba (duo)
2
Trombone, Orgue
2
Trombone basse et Piano
2
Clarinette, Cor (duo)
1
Bass Clef Instruments
1
Ensemble de Tubas
1
Trombone et orchestre
1
Trompette, violon (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1169
Violon et Piano
649
Violon
637
Violon, Violoncelle (duo)
468
Violoncelle
413
Violoncelle, Piano
407
Trio à Cordes: violon, alto, violoncelle
385
Alto, Piano
363
Quintette à cordes: 2 violons, alto, violoncelle, basse
299
2 Violons (duo)
268
Alto seul
255
2 Violoncelles (duo)
204
2 Altos (duo)
172
Harpe
168
Violon, Alto (duo)
160
Contrebasse, Piano (duo)
150
Contre Basse
141
Trio à Cordes: 2 violons, violoncelle
81
Alto (partie séparée)
77
Violon (partie séparée)
50
Alto, Violoncelle (duo)
48
Piano Trio: Violon, Alto, Piano
42
2 Contrebasses (duo)
40
4 Violoncelles
33
Trio à cordes: 3 violins
30
Ensemble de Violons
30
Ensemble d'Altos
29
2 Harpes (duo)
26
Trio à Cordes: 3 violoncelles
25
Quatuor à cordes: 4 violons
25
Contrebasse (partie séparée)
23
Trio à cordes: 3 altos
18
Violon, Guitare (duo)
17
Violon, Basson (duo)
16
Quatuor à cordes : 4 altos
16
Quintette à cordes : 2 violons, alto et 2 violoncelles
14
Violoncelle, Contrebasse (duo)
11
Harpe, Flûte (duo)
10
2 Violons, Piano
9
Violoncelle (partie séparée)
9
Quintette à cordes: 2 violons, 2 altos, violoncelle
9
Alto et Basson
8
2 Violoncelles, Piano
7
Violoncelle , Guitare (duo)
7
Harpe, Voix
7
Flûte, Contrebasse (duo)
6
Violon, Clarinette, Piano (trio)
6
Harpe, Violon (duo)
6
Harpe, Violoncelle (duo)
5
Violon, Tuba (duo)
5
Trio à Cordes: 2 violons, alto
5
2 Altos, Piano
4
Harpe, Violon, Violoncelle
4
Alto et Harpe
3
Alto, Guitare (duo)
3
4 Contrebasses
2
Ensemble de Violoncelles
2
5 Harpes
2
Violoncelle, Orgue
2
3 Contrebasses
1
3 Harpes
1
Harpe, Trombone (duo)
1
Alto et orchestre
1
Harpe et mandoline
1
4 Harpes
1
Violon, Violoncelle, Clarinette
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
2098
Orchestre à Cordes
514
Orchestre
437
Cloches
246
Ensemble Jazz
236
Ensemble de cuivres
195
Fanfare
179
Orchestre de chambre
93
Batterie
49
Jazz combo
48
Ensemble de Percussions
26
Percussion (partie séparée)
25
Marimba
14
Batterie (partie séparée)
10
Xylophone, Piano
7
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Vibraphone
5
2 Xylophones
4
Xylophone
3
Timbales (partie séparée)
2
Percussion
2
Timbales
1
Vibraphone (partie séparée)
1
Cajon
1
Vibraphone et Marimba
1
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AUTRES
Vous avez sélectionné:
Down By The Sea
Partitions à imprimer
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Beyond The Sea
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
(+)
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00
9.16 €
#
Chorale SATB
#
Charles Tenet
#
Tobi Crawford
#
Beyond The Sea
#
Tobi Crawford
#
SheetMusicPlus
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed b…
(+)
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$30.00
27.49 €
#
Ensemble Jazz
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Charles Tenet
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Tobi Crawford
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Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Tobi Crawford
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SheetMusicPlus
Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.517906 Composed by Jolea Jensen. Ar…
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Easy Piano - Level 1 - Digital Download SKU: A0.517906 Composed by Jolea Jensen. Arranged by Arr. Jolea Jensen. Children,Folk,Instructional,Multicultural,Traditional,World. Score. 106 pages. Jolea Jensen #128632. Published by Jolea Jensen (A0.517906). Learn folk songs and singing games from around the world in this early elementary book. This series features a solo melody line accompanied by I, IV, and V7 chords, making it perfect for a general classroom setting or for private lessons. Level One (Book 1, Part 1) begins with basic rhythms (quarter, half, dotted half, and whole) in the keys of C, G, D. Each key begins with several songs in the basic five-finger position, then adds either one note above or one note below, then adds 3/4 time, then adds songs in which the hand is not in the basic five-finger position for that key. Level One (Book 1, Part 2) continues with the keys of A, E, B. Eighth notes are introduced in the key of E. Level One (Book 1, Part 3) contains the keys of F#, Db, and Ab. Level One (Book 1, Part 4) contains the keys of Eb, Bb, and F. I have been teaching several of my students with this book, and they are often eager to begin their lessons by playing their assignment out of this book. The feedback I've received from parents is that their child loves the songs because they are fun and easy to understand. Children often love coloring in the black and white pictures on each page. I hope your students also enjoy these songs. Scope and Sequence for Level One songs: Introduction to I and V Simple with LH thumb melody note I and V More leaps I and V I and IV and V extend pinky I IV V extend thumb I IV V three four time simple move hand Alphabetical Song Index with Key and Pg Number: A Ram Sam Sam Ab 67 AijÄ, Žūžū, LÄÄa BÄ“rni E 32 Ainsi Font Bb 82 Alle Meine Entchen C 5 Ambos a Dos B 37 Ang Pato Ko Eb 70 Arroz con Leche F# 47-48 Au Clair de la Lune E 34 Bells in the Steeple Bb 83 Bill Grogan's Goat Bb 84 Björnen Sover Bb 81 Boil Them Cabbage Down C 4 Brinca la Tablita F 88 Buttercup G 8 Button, You Must Wander Ab 64 Chase the Squirrel C 1 Chopsticks C 6 Clap, Clap, Clap Your Hands D 15 Closet Key F# 42 Cobbler, Cobbler F 85 Cradle Hymn Db 52 Down by the Station F 86 Down in the Valley G 12 Five Fat Turkeys F# 45 Five Little Chickadees G 11 Frog in the Meadow Ab 59 Frogs in the Pond C 2 Go Tell Aunt Rhody D 14 Goodbye, Old Paint F 91 Grandma Grunts F 87 Ha' Sukkah Mah Yafah Ab 60 Hob Ich a Por Oksn Ab 61-62 Hop, Old Squirrel B 35 Hush-A-Bye G 10 Hush, Little Baby G 9 I'm a Nut Eb 75 Johnny's Hammer E 30 Journey of the Leaves E 33 Juan Pirulero B 40 Kangaroo Skippy Roo Bb 76 King's Land Eb 73 Kolyada A 24 Kuckuck Db 57 Lady Come A 22 Lavender's Blue Eb 74 Lightly Row C 3 Limerick Song D 19 Long-Legged Sailor F# 43 Love Somebody G 10 Mmm, Ahh, Went the Little Green Frog Bb 77-78 Mon Petit Lapin a Bien du Chagrin Ab 63 My Horses Ain't Hungry G 13 Naughty Kitty Cat F# 46 O wie wohl ist mir am Abend Db 58 Old King Cole B 38 On Top of Old Smokey D 20 One, Two, Three, Aleerie F 92 Over in the Meadow F 89-90 Pak Pak Ka-ak A 21 Passa, Passa, Gavião Db 51 Pease Porridge Hot A 25 Piva, Piva l'oli d'uliva Ab 65-66 Promenons-nous dans les Bois Eb 71-72 Sandy McNab A 26 Sasara ang Bulaklak Bb 79-80 Scotland's Burning B 36 Seashell Eb 68 Sleep, Baby, Sleep D 16 Tallis' Canon A 27 Ten in the Bed Eb 69 The Deaf Woman's Courtship A 23 The Elfin Knight Db 55-56 The Frog in the Bog D 17 The Noble Duke of York E 31 The Old Sow Took the Measles Db 53-54 The Sandman Comes D 18 Three Jolly Fishermen E 29 There's a Hole in the Bucket F# 49 Twinkle, Twinkle, Little Star B 41 Ulo Abaga B 39 Vamos a la Mar F# 44 Who's That Tapping at the Window Db 50 Yoo Hoo! E 28 Zhao Peng You C 7.
$20.00
18.32 €
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Piano Facile
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Jolea Jensen
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Arr
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Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
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Jolea Jensen
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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
35.68 €
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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
35.68 €
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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
The Story of a Leader
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor K…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
13.78 €
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Chorale SATB
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
Beyond The Sea
Piano seul
Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry,…
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Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Contemporary,Jazz. Score (Chords/Lyrics). 7 pages. Tobi Crawford #981711. Published by Tobi Crawford (A0.1398436). This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson and Sara Gazarek improvise on ballads for inspiration.
$25.00
22.9 €
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Piano seul
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Bobby Darin
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Tobi A Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
CONJUNCTION: The Christmas Star of 2020
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
87.04 €
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Orchestre
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
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SheetMusicPlus
En Face Du Miroir (Facing The Mirror)
Piano seul
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, …
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Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.comContains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$5.99
5.49 €
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Piano seul
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Isadar
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En Face Du Miroir
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Mainya Music Publishing
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SheetMusicPlus
The Water is Wide for Viola & Piano
Alto, Piano
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoir…
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Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publicationsThe Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publications
$32.95
30.19 €
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Alto, Piano
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Traditional Scottish
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James M
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The Water is Wide for Viola & Piano
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jmsgu3
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): Baritone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_BBC1 Baritone B.C.. Co…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_BBC1 Baritone B.C.. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_BBC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_BBC1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): Tuba
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_TB1 Tuba. Composed by …
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Concert Band - Digital Download SKU: AX.00-PC-0017528_TB1 Tuba. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_TB1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_TB1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): Flute
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_F1 Flute. Composed by …
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Concert Band - Digital Download SKU: AX.00-PC-0017528_F1 Flute. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_F1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): Mallets
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_M1 Mallets. Composed b…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_M1 Mallets. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_M1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 3rd B-flat Cornet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_CO3 3rd B-flat Cornet.…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_CO3 3rd B-flat Cornet. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 6 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_CO3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_CO3). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Oboe
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_O2 2nd Oboe. Composed …
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Concert Band - Digital Download SKU: AX.00-PC-0017528_O2 2nd Oboe. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_O2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_O2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
#
Robert Russell Bennett
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Kyle Glaser
#
Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Trombone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_TN2 2nd Trombone. Comp…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_TN2 2nd Trombone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_TN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_TN2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
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Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 4th F Horn
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_H4 4th F Horn. Compose…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_H4 4th F Horn. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_H4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_H4). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd B-flat Cornet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_CO2 2nd B-flat Cornet.…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_CO2 2nd B-flat Cornet. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 6 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_CO2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_CO2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): E-flat Baritone Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_BTX E-flat Baritone Saxoph…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_BTX E-flat Baritone Saxophone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 6 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_BTX. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_BTX). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Bassoon
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_B2 2nd Bassoon. Compos…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_B2 2nd Bassoon. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_B2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_B2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): Piccolo
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_P1 Piccolo. Composed b…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_P1 Piccolo. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_P1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_P1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): E-flat Alto Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_AX1 E-flat Alto Saxophone
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Concert Band - Digital Download SKU: AX.00-PC-0017528_AX1 E-flat Alto Saxophone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_AX1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd F Horn
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_H2 2nd F Horn. Compose…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_H2 2nd F Horn. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_H2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_H2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd E-flat Alto Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017528_AX2 2nd E-flat Alto Saxoph…
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Concert Band - Digital Download SKU: AX.00-PC-0017528_AX2 2nd E-flat Alto Saxophone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_AX2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_AX2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00
2.75 €
#
Orchestre d'harmonie
#
Robert Russell Bennett
#
Kyle Glaser
#
Down to the Sea in Ships
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
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