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Floating on Air
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Floating on Air
Partitions à imprimer
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Floating, Falling, Flying (parts for other instrumental combinations)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Tradit...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Traditional. 9 pages. Brian Chung Music #788560. Published by Brian Chung Music (A0.1188952). Floating, Falling, Flying was originally written as trio for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus). For those who have already purchased that original score, these supplemental parts will make possible the following instrumental combinations:Clarinet (for Oboe) creates a Clarinet/Violin/Piano trio.Clarinet (for Violin) creates an Oboe/Clarinet/Piano trio (heard on sample audio file).Flute (for Violin) creates an Oboe/Flute/Piano trio.The Piano part in the original score is unchanged for all combinations. For Flute/Clarinet/Piano, please purchase the separate version optimized for that instrumentation (#1288002 on Sheet Music Direct, #A0.1192373 on Sheet Music Plus). Composer's Commentary on YouTube:  https://youtu.be/7Isy0t6VzasSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece for student concerts, recitals and Solo and Ensemble festivals.Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$6.00
Floating, Falling, Flying (for Flute, Clarinet and Piano)
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Flûte, Clarinette, Piano (trio)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditio...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditional. Score and parts. 17 pages. Brian Chung Music #791812. Published by Brian Chung Music (A0.1192373). This version of Floating, Falling, Flying is optimized for Flute, Clarinet and Piano. The original trio written for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus) is now available for several instrumental combinations.YouTube Composer's Commentary:  https://youtu.be/AGq1Y14PHIUSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying†depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece appropriate for school concerts, recitals and Solo and Ensemble festivals.  Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$18.00
Floating, Falling, Flying (original version for Oboe, Violin and Piano)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 4 - SKU: A0.1188926 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,T...
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Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 4 - SKU: A0.1188926 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Thriller,Traditional. 18 pages. Brian Chung Music #788535. Published by Brian Chung Music (A0.1188926). Have you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano). Composer's Commentary on YouTube: https://youtu.be/AGq1Y14PHIU In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece appropriate for school concerts, recitals and Solo and Ensemble festivals.  Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$18.00
Bubbles, Floating Bubbles (piano solo)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Juan MarÃa Solare
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if not, 3 minutes)
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Bubbles, Floating Bubbles
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 8 pag...
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Piano Solo - Level 4 - SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 8 pages. Juan Maria Solare #652301. Published by Juan Maria Solare (A0.1134936). Juan MarÃa Solare: Bubbles, Floating Bubbles - a polyrhythmic etude Concert etude composed in Bremen (2-3 July) and Worpswede (5 July 2010). Duration: 4:30 (if the repetition -from bar 28 to the end- is being played; if not, 3 minutes). Bublles, Floating Bubbles - by Juan MarÃa Solare Bubbles, Floating Bubbles on Youtube: Bubbles, Floating Bubbles on Spotify: This composition is a concert etude, since it can be performed at a recital (and not only used to practice). The degree of virtuosity is relatively low, but nevertheless not suitable for absolute beginners. Technically, the main characteristic of this piece is the polyrhythm 2 against 3: the melody subdivides the quarter in 2, and the accompaniment plays triplets. In this sense, an answer to Carl Czerny's polyrhythmic studie in E major. Please use abundant pedal when playing this piece. The idea is to generate a cloud of sound, not a machinal pattern. The sound character of this piece should be closer to Debussy than to Scarlatti. The initial indication scorrevole (fleeting) should orientate the character and the sound quality, the touch. Fermatas and caesuras should add time to the bar, like breathing in. In bar 8 (end) the silence is only in he left hand: the note of the right hand shouldn't be interrupted. This is actually clear if one read the rhythms carefully, but my experience tells me that it is prudent to underline this particular point. In bar 16 (and similar places), left hand: it is the central melody what should be in foreground, not the bass. Imagine that the melody is played by a cello or viola, and the bass by a double bass (or better: a bassoon). Try to achieve a different timbre and to separate therefore both layers. The title refers to this poem: Sum venti ingenium breve Flos sum, scilicet, aeris …… Sum blandum, petulans, vagum, Pulchrum, purpureum, et decens, Comptum, floridulum, et recens. Richard Crashaw -Jacobean English poet- (1613-1649), Bulla (Bubble) I am the brief nature of the wind To be sure, I am the flower of air ...... I am charming, wanton, inconstant, Beautiful, gleaming, and noble, Ornate, somewhat blooming, and fresh.
$3.00
Floating Landscapes
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Flûte traversière
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Jailton de Oliveira
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Floating Landscapes
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Jailton de Oliveira
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SheetMusicPlus
Flute Solo - SKU: A0.1456025 Composed by Jailton de Oliveira. 21st Century,Classical,Contemporary. Individual part. 3 pages. Jailton de Oliveira #103518...
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Flute Solo - SKU: A0.1456025 Composed by Jailton de Oliveira. 21st Century,Classical,Contemporary. Individual part. 3 pages. Jailton de Oliveira #1035184. Published by Jailton de Oliveira (A0.1456025). FLOATING LANDSCAPES, for Solo FlutePremiere: 13 July 2020 at Kraków Manggha Japanese Museum, Kraków, Poland. Natalia Jarząbek, Flute. The piece was composed as an étude to practice the technique of circular breathing. It has a single movement divided into five long phrases. The title is a metaphor for the form of the piece and also for the way the sounds are normally produced on the flute, where landscapes are represented by the musical phrases that contain sounds that “float” in the air in a flow that is produced and controlled by the performer. However “floating” also has connotations with something that circulates, e.g. an idea, providing an analogy to circular breathing. There are no bar lines in the piece. The rhythmic combinations have a freer, asymmetrical flow as they follow the internal structure of each phrase. The piece explores various nuances of dynamics (from ppp to f) in a slow rubato tempo, with a predominance of softer sounds. The piece aims at increasing the performer’s awareness of applying circular breathing over large intervals, and at developing the phrase building logic and its application.
$2.99
Floating on Air
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Piano seul
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FACILE
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Donna Mitchell
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Donna Mitchell
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Floating on Air
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Donna Mitchell Studio
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1280290 By Donna Mitchell. By Donna Mitchell. Arranged by Donna Mitchell. Classical,Instructional,Pop. Score. 3 pages. Do...
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Piano Solo - Level 2 - SKU: A0.1280290 By Donna Mitchell. By Donna Mitchell. Arranged by Donna Mitchell. Classical,Instructional,Pop. Score. 3 pages. Donna Mitchell Studio #871725. Published by Donna Mitchell Studio (A0.1280290). Early intermediate level piano solo in Key of C. 2 pages with color cover This original is in a lyrical style and is suitable for adding lyrics for a soprano vocal range.
$3.00
Elements Suite for Violin and Piano 2nd Mvnt: Air
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Michael Bomier
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Elements Suite for Violin and
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Michael Butkus-Bomier
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SheetMusicPlus
Instrumental Solo,Piano,Violin - Level 4 - SKU: A0.862517 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score and individual part. 9...
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Instrumental Solo,Piano,Violin - Level 4 - SKU: A0.862517 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score and individual part. 9 pages. Michael Butkus-Bomier #2032633. Published by Michael Butkus-Bomier (A0.862517). See Elements One for details as to the goals and aesthetics of this suite as a whole. Air is based on the augmented Major 7th chord, in its arpeggiated and block forms. It uses a 5/4 time signature. Naturally it tries to create a sensation of lightness, of floating, and yet of rushing power and movement. Approx 2 mins running time. The audio clip and score tell all.MBB.
$4.99
The River Rolls On
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Michael C
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The River Rolls On
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Michael McDonough A.S.C.A.P.
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SheetMusicPlus
Brass Ensemble Trombone - Level 3 - SKU: A0.965531 Composed by Michael C. McDonough, A.S.C.A.P. Celtic,Concert,Folk. Score and parts. 10 pages. Michael ...
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Brass Ensemble Trombone - Level 3 - SKU: A0.965531 Composed by Michael C. McDonough, A.S.C.A.P. Celtic,Concert,Folk. Score and parts. 10 pages. Michael McDonough A.S.C.A.P. #6285469. Published by Michael McDonough A.S.C.A.P. (A0.965531). This is the fifth and final movement of my Holston Spring Suite for Trombone Quartet. The first four movements are: Holston Spring, The Shoreline, The Railway Bridge, and Turtles Sunning on the Shore. All are available on SMP Press. As the settlers kept floating along the river became swifter and more unpredictable. Many of the 1st settlers in this area came from Scotland and Ireland. This movement has a definite Scottish/Irish flair. One can just hear the pipes throughout this piece. .
$10.00
Dance of the Fairy Bells - Part 2 - Beyond the Sky
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Piano seul
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INTERMÉDIAIRE
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Eva Behrens
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Dance of the Fairy Bells - Par
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Eva Behrens
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1305306 By Eva Behrens. By Eva Behrens. 19th Century,Classical,New Age,Romantic Period,Wedding. Score. 2 pages. Eva Behre...
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Piano Solo - Level 3 - SKU: A0.1305306 By Eva Behrens. By Eva Behrens. 19th Century,Classical,New Age,Romantic Period,Wedding. Score. 2 pages. Eva Behrens #894745. Published by Eva Behrens (A0.1305306). Beyond the Sky is part 2 in the Dance of the Fairy Bells Series; It is a solo piano composition that gently envelops the listener in a tranquil embrace. The delicate, cascading melodies evoke a sense of weightlessness, as if floating in a serene dreamscape. The seamless progression of soft, resonant chords creates a soothing atmosphere, gently soothing the mind and inviting a profound sense of peace. With its graceful, unhurried tempo and gentle arpeggios, the music delicately weaves a tapestry of calming, reflective moments, inviting the listener to embark on a meditative journey through a realm of ethereal tranquility.
$5.99
Variations on a Theme: Wayfinder
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Garrett Melick
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Variations on a Theme: Wayfind
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Moof Miser
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1024919 Composed by Garrett Melick. Contemporary. Score and parts. 82 pages. Moof Miser #4355557. Published by Moof M...
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Full Orchestra - Level 3 - SKU: A0.1024919 Composed by Garrett Melick. Contemporary. Score and parts. 82 pages. Moof Miser #4355557. Published by Moof Miser (A0.1024919). The Wayfinder, a small ship floating aimlessly through space. This song is the story of their adventures as they explore the galaxy. Variations on a Theme: Wayfinder was written in response to what felt like a general lack of more showy, almost cinematic tunes available publicly for full orchestra, at least ones that weren't arrangements of other movie songs. Wayfinder provides a song that's both fun to play and listen to, while also offering a fair challenge to younger high school orchestra groups to make sure they are listening to other members of the orchestra and keeping their parts balanced between them. It is suggested that, when rehearsing this piece, one emphasize a focus on listening carefully, as well a careful balance between parts played staccato and legato, as well as to bring attention to the multiple tempo changes that occur throughout the piece. .
$30.00
The Whistler Waltz
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Piano seul
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INTERMÉDIAIRE
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Joe Gargiulo
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The Whistler Waltz
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Joe Gargiulo Music
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.898706 Composed by Joe Gargiulo. Concert,Romantic Period. Score. 2 pages. Joe Gargiulo Music #7603. Published by Joe Garg...
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Piano Solo - Level 3 - SKU: A0.898706 Composed by Joe Gargiulo. Concert,Romantic Period. Score. 2 pages. Joe Gargiulo Music #7603. Published by Joe Gargiulo Music (A0.898706). Imagine a ballerina moving with a feeling of abandon. Then movements change, drastically, as the bass player takes over, but just for a moment, and then the dancer is back, floating on air until the dramatic end! Imagination, movement and feelings.are part of the musical experience. Create your own drama as you play this waltz. .
$2.99
Skating
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Jazz
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Vince Guaraldi
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John Gibson
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Skating
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio English Horn,Oboe - Level 3 - SKU: A0.581964 Composed by Vince Guaraldi. Arranged by John Gibson. Jazz. 12 pages. JB Lin...
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Woodwind Ensemble,Woodwind Trio English Horn,Oboe - Level 3 - SKU: A0.581964 Composed by Vince Guaraldi. Arranged by John Gibson. Jazz. 12 pages. JB Linear #3587439. Published by JB Linear (A0.581964). Skating from Vince Guaraldi's music for A Charlie Brown Christmas - set for oboe and English horn trio. Charlie Brown ice skates a lot like I do. Moments of gracefulness mixed with comical disasters. Guaraldi's music reflects that: measures of floating-on-air right along with times of clashing skates. It is set for 2 oboes and 1 English Horn.
$13.25
Quiet Nights Of Quiet Stars (corcovado)
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Piano seul
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AVANCÉ
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Jazz
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Andy Williams
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Timothy Stapay
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Quiet Nights Of Quiet Stars
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1208466 By Andy Williams. By Antonio Carlos Jobim and Gene Lees. Arranged by Timothy Stapay. Film/TV,Jazz,Latin,Multicult...
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Piano Solo - Level 5 - SKU: A0.1208466 By Andy Williams. By Antonio Carlos Jobim and Gene Lees. Arranged by Timothy Stapay. Film/TV,Jazz,Latin,Multicultural,Standards,World. Score. 8 pages. Timothy Stapay #806578. Published by Timothy Stapay (A0.1208466). My piano cover arrangement of Quiet Nights Of Quiet Stars by Antonio Carlos Jobim.Corcovado (known in English as Quiet Nights of Quiet Stars) is a bossa nova song and jazz standard written by Antônio Carlos Jobim in 1960. English lyrics were later written by Gene Lees. The Portuguese title refers to the Corcovado mountain in Rio de Janeiro.Tony Bennett recorded the first popular English cover of Quiet Nights with new lyrics by Buddy Kaye in 1963.  Numerous English cover recordings then followed sometimes credited to Lees and/or Kaye and Lees, including the Andy Williams recording of the song with English lyrics, reaching #92 in the Billboard Hot 100 and #18 in the Hot Adult Contemporary Tracks chart in 1965. Also receiving air-play, contemporaneously with Andy Williams' recording of Quiet Nights, was Kitty Kallen's version. Her album, titled Quiet Nights, was released by 20th Century-Fox Records in 1964.Lyrics below:Quiet nights of quiet starsQuiet chords from my guitarFloating on the silence that surrounds usQuiet thoughts and quiet dreamsQuiet walks by quiet streamsAnd a window looking on the mountainsAnd the sea, so lovelyThis is where I want to beHere, with you so close to meUntil the final flicker of life's amberI who was lost and lonelyBelieving life was onlyA bitter tragic jokeHave found with youThe meaning of existence oh, my love
$7.99
Thistledown
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Piano seul
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INTERMÉDIAIRE
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Bethany Wakim
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Thistledown
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Bethany Wakim
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.905863 Composed by Bethany Wakim. Concert,Contemporary,Standards. Score. 7 pages. Bethany Wakim #5998697. Published by Be...
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Piano Solo - Level 3 - SKU: A0.905863 Composed by Bethany Wakim. Concert,Contemporary,Standards. Score. 7 pages. Bethany Wakim #5998697. Published by Bethany Wakim (A0.905863). A light and airy piano solo; a gentle melody floating on the breeze. Suitable for the intermediate/late intermediate pianist. Duration: roughly 4:00.
$3.99
Almost May for Piano Solo
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Piano seul
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FACILE
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Heidi Savoie
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Heidi Savoie
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Almost May for Piano Solo
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Heidi Savoie
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Song...
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Piano Solo - Level 2 - SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.
$3.99
Almost May Score and Parts
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoi...
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
Almost May Lead Sheet
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Instruments en Do
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FACILE
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Heidi Savoie
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/So...
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C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$2.99
Skating from A Charlie Brown Christmas - Clarinet Quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Noël
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Vince Guaraldi
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Skating from A Charlie Brown C
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JB Linear
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SheetMusicPlus
Clarinet, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts. 16 pages. Published by ...
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Clarinet, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts. 16 pages. Published by JB Linear
Skating from Vince Guaraldi's music for A Charlie Brown Christmas - set for clarinet quartet. Charlie Brown ice skates a lot like I do. Moments of gracefulness mixed with comical disasters. Guaraldi's music reflects that: measures of floating-on-air right along with times of clashing skates. It is set for 4 Bb clarinets.
$13.99
Skating from A Charlie Brown Christmas - Sax Quartet
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Noël
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Vince Guaraldi
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Skating from A Charlie Brown C
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JB Linear
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SheetMusicPlus
Alto Sax, Tenor Sax, Baritone Sax, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts...
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Alto Sax, Tenor Sax, Baritone Sax, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts. 16 pages. Published by JB Linear
Skating from Vince Guaraldi's music for A Charlie Brown Christmas - set for saxophone quartet. Charlie Brown ice skates a lot like I do. Moments of gracefulness mixed with comical disasters. Guaraldi's music reflects that: measures of floating-on-air right along with times of clashing skates. It is set for 2 altos, 1 tenor, and 1 baritone sax.
$14.75
Skating from A Charlie Brown Christmas - Flute Quartet
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Quatuor de Flûtes : 4 flûtes
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INTERMÉDIAIRE
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Film/TV
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Vince Guaraldi
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Skating from A Charlie Brown C
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JB Linear
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SheetMusicPlus
Flute, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts. 18 pages. Published by JB ...
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Flute, Woodwind Quartet - Intermediate - Digital Download By Vince Guaraldi. Arranged by John Gibson. Score, Set of Parts. 18 pages. Published by JB Linear
Skating from Vince Guaraldi's music for A Charlie Brown Christmas - set for flute quartet. Charlie Brown ice skates a lot like I do. Moments of gracefulness mixed with comical disasters. Guaraldi's music reflects that: measures of floating-on-air right along with times of clashing skates. It is set by John Gibson for 3 flutes and 1 alto flute (with an alternate 4th flute part).
$13.50
"Six Short Stories" - for Woodwind Quintet (1996)
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Lior Navok
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Oboe
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"Six Short Stories"
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Lior Navok Music
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.976045 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 32 pages....
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.976045 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 32 pages. Lior Navok Music #4727437. Published by Lior Navok Music (A0.976045). SIX SHORT STORIES FOR WOODWIND QUINTET (1996)INSTRUMENTATION: Flute / Piccolo; Oboe; Clarinet; Bassoon; HornDURATION: 12 Minutes. PROGRAM NOTES: The composer writes about his work: The woodwind quintet is one of my favorite mediums: the individual personality of each musical instrument on one hand, and the homogeneity that can skilfully be achieved on the other hand, stimulated my imagination for a long time. The titles of the movements represent my own plot thoughts and associations behind each story: The First is a meeting of five friends willing to play together while one of them is being considerably late. The second is my association to a native ceremonial dance. The third, reminds me of a light breeze on a lazy summer night, while sitting on front of the porch. The fourth describes a person gazing at the fire flames, controlled like a marionette by the wind. The fifth is a sinking / floating memory, and last, a discussion about how a fugue should sound. Nevertheless, this is only my view of the music. I would like to invite the listeners to find their own association, and create their individual stories.MOVEMENTS: 1. The Meeting2. Native Dance3. Air4. Fire Dance5. Longing (Sinking and Floating Memory)6. 1+1=11 (Introduction and Fughetta)INFO: Item: Full ScoreEdition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok MusicPages: 32 Paper Size:DIN A4 / Letter
$16.00
"Six Short Stories" - for Woodwind Quintet (1996) [Set of Parts]
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Lior Navok
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Oboe
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"Six Short Stories"
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Lior Navok Music
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.976044 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 75 pages....
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.976044 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 75 pages. Lior Navok Music #4727435. Published by Lior Navok Music (A0.976044). SIX SHORT STORIES FOR WOODWIND QUINTET (1996)INSTRUMENTATION: Flute / Piccolo; Oboe; Clarinet; Bassoon; HornDURATION: 12 Minutes. PROGRAM NOTES: The composer writes about his work: The woodwind quintet is one of my favorite mediums: the individual personality of each musical instrument on one hand, and the homogeneity that can skilfully be achieved on the other hand, stimulated my imagination for a long time. The titles of the movements represent my own plot thoughts and associations behind each story: The First is a meeting of five friends willing to play together while one of them is being considerably late. The second is my association to a native ceremonial dance. The third, reminds me of a light breeze on a lazy summer night, while sitting on front of the porch. The fourth describes a person gazing at the fire flames, controlled like a marionette by the wind. The fifth is a sinking / floating memory, and last, a discussion about how a fugue should sound. Nevertheless, this is only my view of the music. I would like to invite the listeners to find their own association, and create their individual stories.MOVEMENTS: 1. The Meeting2. Native Dance3. Air4. Fire Dance5. Longing (Sinking and Floating Memory)6. 1+1=11 (Introduction and Fughetta)INFO: Item: Set of PartsEdition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok MusicPages:75 Paper Size:DIN A4 / Letter
$18.00
Orgelsinfonie No. 16
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Orgue
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AVANCÉ
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Scho...
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Organ - advanced - SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holid
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. Wit...
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Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp A
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and part...
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
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Floating on Air
