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Quatuor à cordes: 4 violons
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281
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249
Orchestre
125
Ensemble Jazz
88
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Cloches
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Jazz combo
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Marimba
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Batterie
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Fanfare
14
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8
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For You I Will
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Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.51 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.82 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
For You I Will
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.914029 By Various. By Diane Eve Warren.…
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Guitar - Level 1 - Digital Download SKU: A0.914029 By Various. By Diane Eve Warren. Arranged by Dondee. Contemporary. Guitar Tab. 6 pages. Dondee Magnata #4110635. Published by Dondee Magnata (A0.914029). An easy yet beautiful guitar arrangement of For You I Will by Monica.For the audio and video of this arrangement, please visit the following link:https://youtu.be/_3rDccFrqto
$4.99
4.58 €
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Guitare notes et tablatures
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Various
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Dondee
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For You I Will
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Dondee Magnata
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.8894…
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. 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! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99
10.09 €
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Johann Sebastian Bach
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Luis Anjos Teixeira
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Luis Anjos Teixeira
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SheetMusicPlus
Bach Fuga BWV 539 For Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. 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. Thank you very much f.
$25.00
22.96 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
I Need Thee Every Hour - Piano and Organ Arrangement
Orgue
Organ,Piano - Digital Download SKU: A0.1072082 Composed by Annie S. Hawks. Arranged…
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Organ,Piano - Digital Download SKU: A0.1072082 Composed by Annie S. Hawks. Arranged by Jacob Hershberger. Christian,Sacred,Spiritual. Accompaniment. Duration 289. Jasberger Music #6009677. Published by Jasberger Music (A0.1072082). Jacob Hershberger performs his new arrangement of I Need Thee Every Hour on both the piano and organ.. Just not at the same time ;) http://www.youtube.com/watch?v=v3D8ACXhnyU&feature=youtu.beThe softness of the piano and it's marriage to the organ make this a powerful arrangement with a lot of hidden spiritual messages in the arrangement. One such message is the differences in time in some of the organ and piano parts. The organ represents the us in the different stages of our lives. The piano represents Heavenly Father and his constant presence in our lives. He is always there steady and available, all we have to do is sync up with him through prayer and he will lead us ever onward through our mortal sojourn on earth.At the end of the video is the following scripture: Yea, I know that God will give liberally to him that asketh. Yea, my God will give me, if I ask not amiss; therefore I will lift up my voice unto thee; yea, I will cry unto thee, my God, the rock of my righteousness. Behold, my voice shall forever ascend up unto thee, my rock and mine everlasting God. Amen. ~2 Nephi 4:35 I hope you enjoy this beautiful arrangement of I need thee every hour. www.JasbergerMusic.com 1. I need thee ev’ry hour, Most gracious Lord. No tender voice like thine Can peace afford. [Chorus] I need thee, oh, I need thee; Ev’ry hour I need thee! Oh, bless me now, my Savior; I come to thee! 2. I need thee ev’ry hour; Stay thou nearby. Temptations lose their pow’r When thou art nigh. 3. I need thee ev’ry hour, In joy or pain. Come quickly and abide, Or life is vain. 4. I need thee ev’ry hour, Most holy One. Oh, make me thine indeed, Thou blessed Son!
$1.99
1.83 €
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Orgue
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Annie S
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Jacob Hershberger
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I Need Thee Every Hour - Piano and Organ Arrangement
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Jasberger Music
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SheetMusicPlus
10 Boil Them Cabbage Down Solos for Beginning Violin (+ 9 BONUS VARIATIONS)
Instrumental Duet Fiddle,Instrumental Duet,Violin - Level 1 - Digital Download SKU: A0.…
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Instrumental Duet Fiddle,Instrumental Duet,Violin - Level 1 - Digital Download SKU: A0.885660 Composed by Heather Figi. Arranged by Heather Figi. Country,Folk. Score and parts. 27 pages. Music for Young Violinists #2852285. Published by Music for Young Violinists (A0.885660). 10 Boil Them Cabbage Down Solos for Beginning Violin + 9 BONUS VARIATIONS 25 page *eBook available as an instant PDF download. This is the sweetest collection of melodies & playful challenges for both:Your youngest musicians who are just starting their violin journey.Fiddle players of all ages who love the joy of this catchy tune.To learn more about this collection and download FREE sample please visit: https://www.musicforyoungviolinists.com/HOW TO USE THIS BOOK - 1- Assign individual solos to specific students for a group performance to showcase individual musicians.2- As a reading book - the variations help build on existing skills and aural templates while teaching the musician slight changes in the music notation.3- Special assignment for any student who has an affinity for fiddle music.4- Special assignment for summer/winter breaks because the consistency of material allows for independent learning.5- Note reading practice by writing in the pitch above the note (one of the many perks for printing out your music is that you can write in it and still have access to a new, fresh part).6- Fiddle party or workshop material.7- For FUN!!! Play music in the true sense of the word play.* Please note this is a digital download. Once you order this collection, you will be re-directed to a link that allows you to download 10 Boil Them Cabbage Down Solos for Beginning Violin.* Remember to adjust your printer settings to LANDSCAPE when printing this out.A friendly reminder that integrity starts with you.I offer a very generous bulk discount if you need more than a single copy of this product. Click HERE https://www.musicforyoungviolinists.com/violin-sheet-music.html to learn more.
$18.00
16.53 €
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Heather Figi
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Heather Figi
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10 Boil Them Cabbage Down Solos for Beginning Violin
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Music for Young Violinists
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SheetMusicPlus
C Jam Blues for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: …
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Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.â€The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session†the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam†Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues†was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues†was one of his nightly features with Satch’s ensemble along with “Tea for Two.†Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,†etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,†featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$12.99
11.93 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Keith Terrett
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Keith Terrett
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Bb Trombone/Euphonium in TC
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C Jam Blues for Brass Quintet
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Keith Terrett
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SheetMusicPlus
What Will We Say?
Cello,Piano,Steel Pan,Violin - Level 4 - Digital Download SKU: A0.1095566 Composed …
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Cello,Piano,Steel Pan,Violin - Level 4 - Digital Download SKU: A0.1095566 Composed by Aaron Gage. 20th Century,Chamber,Contemporary. 38 pages. Aaron Gage #699558. Published by Aaron Gage (A0.1095566). At the time this piece was conceived, the world had fallen into chaos. We were in the midst of a vast economic crisis leaving millions in poverty, racism had once again found its foothold in the foreground of US culture, climate change had decimated the west coast in flames while southern coastal cities were being bombarded with floods from storms. We have also been forced to see the ugliness of domestic terrorists establishing themselves in the hopes of hurting their fellow citizens. However, these issues pale in comparison to the utter devastation we have faced from COVID-19. As I write this note, we are just shy of nearly a quarter of a million people having senselessly died from COVID-19. The utter failure we’ve had in leadership and lack of empathy from our fellow citizens have caused countless families to now have empty seats at their table. There was no need for this. Hundreds of thousands of men, women, and children have died from means that could have been completely preventable. When I was asked to write this piece, I wanted to come up with a simple concept as an elegy to those lost to the virus. A simple question arose; What will we say? 50 years from now, how will we answer to those younger generations while we collectively sat by and did nothing to help each other? How are we going to excuse letting the rot that has sunk in go unpunished? How do we defend the indefensible? This question haunts me. The music you will hear channels my answer to that question. There is no true resolution. There is no happy ending. When we have finally moved on past this pandemic, we are still left in the wake of hundreds of thousands of dead citizens. One day it will hit us all how many lives we really lost. So I ask this; while you listen, reflect on every individual who suffered at the hands that did not act. Allow yourself to absorb the true gravity of what we have experienced. Give those victims a few minutes of your time. When the time comes for you to be asked, what will you say?
$19.99
18.36 €
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Aaron Gage
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What Will We Say?
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Aaron Gage
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SheetMusicPlus
I Love Halloween! (A Spooky Round for Unison Choir)
Chorale Unison
Choral Choir,Choral (Unison) - Level 1 - Digital Download SKU: A0.1093608 By Joanna…
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Choral Choir,Choral (Unison) - Level 1 - Digital Download SKU: A0.1093608 By Joanna Mills. By Joanna Mills. Arranged by Joanna Mills. Blues,Children,Halloween,Jazz,Traditional. 12 pages. Joanna Mills Music #697678. Published by Joanna Mills Music (A0.1093608). Inspired by the traditional campfire song I Love the Mountains, this spooky song celebrates all things Halloween! Set in a minor key, the arrangement starts out slowly and spookily, then transforms into a fast, fun, bluesy song that elementary and middle school choirs will love! Set in an accessible key for young voices, I Love Halloween! features a unison call and response format, as well as optional easy counterpoint harmonies and an optional round at the end for unison choirs ready for a small challenge. An mp3 recording of the piano accompaniment is also available for purchase! Joanna Mills' passion is music and singing. From 1998 to 2018, she was the director of the Roncesvalles Gospel Choir and has written and directed many original children's musicals at Roncesvalles United Church. From 2011 to 2020 Joanna was the music director and head vocal teacher at Broadway Arts Centre. She performs frequently in local festivals and clubs with her six-voice folkgrass ensemble North of Queen and also sings with Toronto’s premiere rock choir newchoir. Joanna is an award-winning songwriter (Songdoor, Song of the Year, ISSA) and arranger and her works have been performed by choirs and bands all over the world. Trained formally in voice, piano, and oboe throughout her younger years, Joanna has sung in (and lead) various choirs, performed with the New Westminster Musical Theatre Guild, and teaches Musical Theatre, piano, and voice at her studio in Toronto, Ontario. www.joannamills.ca.
$1.99
1.83 €
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Chorale Unison
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Joanna Mills
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Joanna Mills
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I Love Halloween!
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Joanna Mills Music
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. 11 pages. Luis Anjos Teixeira #4741949. Published by Luis Anjos Teixeira (A0.889437). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern woodwind quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. Have fun! It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. 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! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$9.94
9.13 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johann Sebastian Bach
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Luis Anjos Teixeira
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Telemensch (The isolated one) for Cello Solo (mp3)
Violoncelle
Cello - Digital Download SKU: A0.1103919 By Mády-Szabó Eszter. By David Warin…
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Cello - Digital Download SKU: A0.1103919 By Mády-Szabó Eszter. By David Warin Solomons. Baroque,Chamber,Classical,Jewish. Full Performance. Duration 258. David Warin Solomons #707203. Published by David Warin Solomons (A0.1103919). This work is based on 4 melodies by Telemann but with many additional augmented-second twists, in Jewish music style, and various decorations. The original melodies are: Herr wie lange (Lord, how long) This is a canon for two voices based on the psalm text and forms the beginning and end of the work Herr, wie lange willst du mein so gar vergessen, wie lange verbirgest du dein Antlitz vor mir! Lord, how long you forget me how long will you hide your face from me The other pieces are based on Telemann's settings for voice and keyboard of poems by his contemporary Daniel Stoppe Glück - (Happiness) Das glücke kömmt selten per posta, zu pferde es geht zu fusse, schritt vor schritt; sein eigensinn ist nicht zu zwingen; Happiness seldom comes by post or on horseback It goes on foot step by step It does not demand compulsion Jeder sein eigener Richter (Each his own judge) Ich will vor meiner thüre kehren; ich habe gnug für mich zu thun; ich kenne mich, ich bin kein engel; ein jeder mensch hat seine mängel, wer diese tilgen will, darf lebenslang nicht ruhn. I will turn from my doors I have enough for myself to do I know myself, I am no angel Every person has his faults Anyone who wishes to wipe them out Can never be at at peace all his life Wind (Wind) Wind macht aus thoren kluge leute; durch wind verdient der narr sein brodt: The wind makes fools into clever folk The fool earns his bread by the wind Performed by Mády-Szabó Eszter of Budapest Scoring Cellos.
$5.50
5.05 €
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Violoncelle
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Mády-Szabó Eszter
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Telemensch
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David Warin Solomons
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SheetMusicPlus
EIGHTEEN IN ITALY Movement I, Letters from a Poet in Italy
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1081893 By Francis Osentowsk…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1081893 By Francis Osentowski, music Jerry McElveen, text. By Francis Osentowski, DMA University of North Texas. Arranged by Original composition. Contemporary,Contest,Festival,Instructional,Multicultural,Opera,World. Score. 7 pages. Francis Osentowski #686005. Published by Francis Osentowski (A0.1081893). Eighteen in Italy is song one of a four-part song cycle. 1. Eighteen in Italy 2. Caregiver 3. Colosseum 4. David. The beautiful poems by former Richland College Professor, Jerry McElveen describes a tour of Italy by a group of faculty and families. In a beautiful ballroom in Rome on the last day of the tour, Jerry surprised all of us by reciting poems he had created during the tour. When he began presenting his texts...I immediately knew those words were perfect for a musical setting! Our pieces have been performed often throughout the DFW area. Marsha Anderson is a North Lake College faculty member who was an opera singer in Italy for decades and later taught a student credit trip to Italy. You will her perform at University of Texas Arlington with me at the piano. I now think each of the songs should slow down a few clicks to breath more for the singer. The talented young soprano, Erin Alcorn performed the cycle more recently and both performer and my music received excellent reviews from the Dallas Morning News music critic, Scott Cantrell. Several performers have told me that the songs are very comfortable to perform, and the music is suitable for young singers. All four songs are available to purchase at this site.
$5.99
5.5 €
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Piano, Voix
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Francis Osentowski, music Jerry McElveen, text
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Original composition
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EIGHTEEN IN ITALY Movement I, Letters from a Poet in Italy
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Francis Osentowski
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SheetMusicPlus
Make You Feel My Love
Violon et Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.749238 By Bob Dylan. By Bob Dylan…
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Piano,Violin - Level 4 - Digital Download SKU: A0.749238 By Bob Dylan. By Bob Dylan. Arranged by HELEN MARPLE-HORVAT. Pop. 25 pages. Helen Marple-Horvat #6141419. Published by Helen Marple-Horvat (A0.749238). https://www.youtube.com/watch?v=Pnga6ib32RgBritish singer-songwriter Adele recorded Make You Feel My Love for her debut studio album 19, in 2008. As it is such a popular hit I was surprised to find that the original was by Bob Dylan, from the album ‘Time out of Mind’ from 1997, and also that it has been covered many times by different artists.Why choose my arrangement?I have arranged the piano part to follow the original very closely, transposed into G Major, as I also want to be able to play it in gigs with my daughter who is a singer. As such I have made the piano part to lie under the fingers, making sure the clefs are easy to read. I have also included a ‘piano only’ score as it falls onto three pages, and is convenient for performing, as well as the two piano scores with each violin version.Some of the harmony is slightly changed, and I composed my own bridge passage with hints at the original. Also Adele sings a quite dissonant G in the melody, against the F sharps in some of the verses. Personally I love this, but it would need to be played subtly, and the clash is less obvious in the less dense sonority of a vocal part, so I have left this option open by notating the safer version, and suggesting the dissonance rather than the other way around. On the video is an example of both.I also include a bonus ‘Easy Violin’ Part that younger players will enjoy, or perhaps the pupils of those who buy the professional level arrangement. It requires some simple shifts in the Chorus and Bridge section. However, there are some places where an open ‘A’ could slip by unobtrusively in quaver passages too. Feel free to take as many bows as you need and don’t feel bound by my bowing suggestions. I have changed my mind many times! Just do what feels comfortable and enjoy it. Some places I have left out bowing altogether eg Bar 27 where you can experiment or discuss with your teacher.Adele sings the original at 72 bpm but I think you could certainly go as high as 76 bpm without losing that mournful quality, and it will help young players with their bowing.My Youtube Channel has many of my arrangements for String Quartet, recorded by the Worcestershire, UK ‘Capriccio Quartet’, as well as many songs for instrument and piano. All but two are available as Sheet Music Plus products. Please visit me there - Helen Marple-Horvat, Songwriter, Arranger, Composer
$10.00
9.18 €
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Violon et Piano
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Bob Dylan
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HELEN MARPLE-HORVAT
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Make You Feel My Love
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Helen Marple-Horvat
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SheetMusicPlus
Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939717 Composed by Richard…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. Published by Richard St. Clair (A0.939717). This 9-minute motet in which the Buddha-to-be Dharmakara praises His master, Lokeshvaraja Buddha and vows to become the Savior of all Beings (namely, Amida Buddha). The music beings with an extended recitative/aria by solo soprano, and proceeds to the full choral ensemble to its conclusion. The MP3 Audio Clip is a computer-generated soundfile of the entire work. The music is completely tonal and traditional, suitable for good amateur choirs and professional choruses alike.Words from the Larger Sutra on Amida Buddha expounded by Shakyamuni Buddha some 2500 years ago in India.[Setting: Many ages ago, Dharmakara Bhikshu (in his stage before becoming Amida Buddha) declares to his Master, Buddha Lokeshvararaja, his intention to create a Pure Land wherein all suffering beings can be saved.]Text (slightly abridged):Then appeared a Buddha named Lokeshvararaja, the Tathagata, Arhat, Perfectly Enlightened One, Possessed of Wisdom and Practice, Perfected One, Knower of the World, Unsurpassed One, Tamer of Men, Master of Gods and Men, Buddha and World-Honored One.At that time there was a king, who, having heard the Buddha's exposition of the Dharma, rejoiced in his heart and awakened aspiration for the highest, perfect Enlightenment. He renounced his kingdom and the throne, and became a monk named Dharmakara. Having superior intelligence, courage and wisdom, he distinguished himself in the world. He went to see the Tathagata Lokeshvararaja, knelt down at his feet, walked round him three times keeping him always on his right, prostrated himself on the ground, and putting his palms together in worship, praised the Buddha with these verses:The shining face of the Buddha is glorious;Boundless is his magnificence.Radiant splendor such as hisIs beyond all comparison.The sun, the moon and the mani-jewel,Though shining with dazzling brightness,Are completely dimmed and obscuredAs if they were a pile of ink-sticksThe countenance of the TathagataIs beyond compare in the whole world.The great voice of the Enlightened OneResounds throughout the ten regions.His morality, learning, endeavor,Absorption in meditation, wisdomAnd magnificent virtues have no equal;They are wonderful and unsurpassed.I resolve to become a Buddha,Equal in attainment to you, O holy king of the Dharma,To save living beings from birth-and-death,And to lead them all to emancipation.I vow that, when I have become a Buddha,I shall carry out this promise everywhere;And to all fear-ridden beingsShall I give great peace.Even though there are Buddhas,A thousand million kotis in number,And multiudes of great sagesCountless as the sands of the Ganges,I shall make offeringsTo all those Buddhas.I shall seek the supreme WayResolutely and tirelessly.Even though the Buddha-lands are as innumerableAs the sands of the Ganges,And other regions and worldsAre also without number,My light shall shine everywhere,Pervading all those lands.Such being the result of my efforts,My glorious power shall be immeasurable.When I have become a Buddha,My land shall be most exquisite,And its people wonderful and unexcelled;The seat of Enlightenment shall be supreme.My land, being like Nirvana itself,Shall be beyond comparison.I take pity on living beingsAnd resolve to save them all.Those who come from the ten quartersShall find joy and serenity of heart;When they reach my land,They shall dwell in peace and happiness.I beg you, the Buddha, to become my witnessAnd to vouch for the truth of my aspiration.Having now made my vows to you,I will strive to fulfilll them.The World-Honored Ones in the ten quartersHave unimpeded wisdom;I call upon those Honored OnesTo bear witness to my intention.Even though I mu.
$10.99
10.09 €
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Chorale SATB
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Richard St
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Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
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Richard St. Clair
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.81 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.81 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
For You I Will
Saxophone Soprano et Piano
Piano,Soprano Saxophone - Digital Download SKU: A0.999507 By Various. By Diane Eve …
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Piano,Soprano Saxophone - Digital Download SKU: A0.999507 By Various. By Diane Eve Warren. Arranged by Tony Bragano. Contemporary. Score and part. 3 pages. Tony Bragano #6038933. Published by Tony Bragano (A0.999507). From Tony Bragano's album Walking in Love. Sheet music for the soprano saxophone. With Piano accompaniment.
$4.99
4.58 €
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Saxophone Soprano et Piano
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Various
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Tony Bragano
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For You I Will
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Tony Bragano
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SheetMusicPlus
Passacaglia For Harp
Harpe
Harp - Level 5 - Digital Download SKU: A0.889432 Composed by Johann Sebastian Bach.…
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Harp - Level 5 - Digital Download SKU: A0.889432 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Standards. Score. 10 pages. Luis Anjos Teixeira #4736137. Published by Luis Anjos Teixeira (A0.889432). I found this Passacaglia from Bach among some of my own handwritten manuscripts. It is a phenomenal piece. Bach was definitive a great artist, a Genius. Passacaglia is an Italian word. This music form was originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. In this piece we can clearly experience this „Spanish strumming between „Bars 137 and 145. The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over an ostinato bass pattern (which itself may be varied). I added to this piece some interpretation symbols and rearranged it for the harp but every single note was left as it would be found in the original version. The piece is appropriate for advanced performers. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. The piece is difficult but very Human. It requires focused endurance and some practice on certain passages. Once learned you will also be playing much better. Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste. Have fun! It is a piece that can be used in many different kinds of situations, from a serious concert hall to a marriage, it is perfect for Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file is the version in D minor for a concert harp, it was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. 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! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$7.55
6.93 €
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Harpe
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Passacaglia For Harp
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Luis Anjos Teixeira
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SheetMusicPlus
Forgotten Moments for Symphony Orchestra (Keith Terrett Hollywood Film Cue Series)
Orchestre
Full Orchestra - Digital Download Composed by Keith Terrett. 21st Century, Movies, …
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Full Orchestra - Digital Download Composed by Keith Terrett. 21st Century, Movies, European. Score, Set of Parts. 36 pages. Published by Music for all Occasions
A little original reflective/melancholic work entitled ''Forgotten Moments'' for Symphony Orchestra. Part of my Hollywood Film Music Cue series.<br> <br> If there are any film producer's/director's out there looking for music for a film, I have many more examples. E-mail me your requirements:keithterrett@gmail.com<br> <br> Some of my favourite film composers include:<br> <br> Bernard Herrmann, John Barry, Vangelis, John Williams, Ennio Morricone, Hans Zimmer, Jerry Goldsmith, John Carpenter and of course James Horner Franz Waxman & Erich Korngold!<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$30.00
27.55 €
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Orchestre
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Keith Terrett
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Forgotten Moments for Symphony Orchestra
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SheetMusicPlus
Follow You, Follow Me
Guitar - Level 3 - Digital Download SKU: A0.1365180 By Genesis. By Mike Rutherford,…
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Guitar - Level 3 - Digital Download SKU: A0.1365180 By Genesis. By Mike Rutherford, Phil Collins, and Tony Banks. Arranged by Derek Hasted. Pop,Rock. 28 pages. Derek Hasted #949492. Published by Derek Hasted (A0.1365180). FOLLOW YOU, FOLLOW ME (Genesis) - 4 or 5 GUITARS/LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes My arrangement of this classic Genesis song makes a great concert item.It will suit many types of guitar ensembles...The music in this edition will work just fine in a guitar quartet. With five or more players, there is an extra Guitar 5 line that carries the original’s countermelody.Guitar 4 is supplied in treble and bass clefs - either or both versions can be played.And finally, Guitar 2 is supplied in two versions - one for an advanced intermediate player and one to suit an intermediate player.On the Sheet Music Plus website there is a 30-second sound clip which has the simpler guitar 2 line.The tune is down low, and will benefit from strong rest strokes and plenty of vibrato to make it sing like a ’cello.There is a small amount of fingering. The original is very much devoid of dynamics - you may wish to add your own to make the performance “yoursâ€.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
4.58 €
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Genesis
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Derek Hasted
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Follow You, Follow Me
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Derek Hasted
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SheetMusicPlus
Debussy: La Fille aux Cheveux de Lin for Brass Quintet
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.747402
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.747402 Composed by Claude Debussy. Arranged by Darrell Goforth. 20th Century,Instructional. Score and parts. 11 pages. Darrell Harrison Goforth #2153609. Published by Darrell Harrison Goforth (A0.747402). Written in 1909 and finished in 1910, La Fille aux Cheveux de Lin is one of Debussy's most performed works.I have set it here for brass and in the original key of G-flat major. I experimented with other keys, but it loses it's quiet serenity and grace in other keys.This short work is purely impressionistic and will offer a break from the usual fare for brass performances. It presents a unique challenge to any brass quintet that your audience will also appreciate.Comments and questions are always welcome at dgoforth2@comcast.net.Like me on Facebook at https://www.facebook.com/GoForthmusic and visit my YouTube channel at https://www.youtube.com/user/dgoforth2
$19.99
18.36 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Claude Debussy
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Darrell Goforth
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Debussy: La Fille aux Cheveux de Lin for Brass Quintet
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Darrell Harrison Goforth
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SheetMusicPlus
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Ensemble de Tubas
Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Mil…
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Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.<br> <br> The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.<br> <br> In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.<br> <br> The recording was also issued as a V-Disc, No. 39A, in November 1943.<br> <br> The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".<br> <br> The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".<br> <br> "Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.<br> <br> A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.<br> <br> "Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.<br> <br> Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).<br> <br> "Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.<br> <br> Wartime release:<br> <br> The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99
11.93 €
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Ensemble de Tubas
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Glenn Miller
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Keith Terrett
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Moonlight Serenade for Tuba Quintet
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Music for all Occasions
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SheetMusicPlus
Telemensch for solo clarinet (mp3)
Clarinette
Clarinet - Digital Download SKU: A0.1103918 By József Dávid. By David Warin S…
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Clarinet - Digital Download SKU: A0.1103918 By József Dávid. By David Warin Solomons. Chamber,Classical,Jewish. Full Performance. Duration 256. David Warin Solomons #707202. Published by David Warin Solomons (A0.1103918). This work is based on 4 melodies by Telemann but with many additional augmented-second twists, in Jewish music style, and various decorations. The original melodies are: Herr wie lange (Lord, how long) This is a canon for two voices based on the psalm text and forms the beginning and end of the work Herr, wie lange willst du mein so gar vergessen, wie lange verbirgest du dein Antlitz vor mir! Lord, how long you forget me how long will you hide your face from me The other pieces are based on Telemann's settings for voice and keyboard of poems by his contemporary Daniel Stoppe Glück - (Happiness) Das glücke kömmt selten per posta, zu pferde es geht zu fusse, schritt vor schritt; sein eigensinn ist nicht zu zwingen; Happiness seldom comes by post or on horseback It goes on foot step by step It does not demand compulsion Jeder sein eigener Richter (Each his own judge) Ich will vor meiner thüre kehren; ich habe gnug für mich zu thun; ich kenne mich, ich bin kein engel; ein jeder mensch hat seine mängel, wer diese tilgen will, darf lebenslang nicht ruhn. I will turn from my doors I have enough for myself to do I know myself, I am no angel Every person has his faults Anyone who wishes to wipe them out Can never be at at peace all his life Wind (Wind) Wind macht aus thoren kluge leute; durch wind verdient der narr sein brodt: The wind makes fools into clever folk The fool earns his bread by the wind.
$5.50
5.05 €
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Clarinette
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József Dávid
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Telemensch for solo clarinet
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David Warin Solomons
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SheetMusicPlus
What Was I Made For?
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1264568 By Billie Eilish. By Billie…
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Easy Piano - Level 1 - Digital Download SKU: A0.1264568 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Glauco Fernandes. Film/TV,Instructional,Pop,Wedding. Score. 3 pages. Glauco Fernandes #857398. Published by Glauco Fernandes (A0.1264568). Easy Piano Sheet Music: What Was I Made For - Billie Eilish Elevate your musical skills with our exclusive easy piano sheet music for the song What Was I Made For by the talented singer Billie Eilish. This captivating song is part of the soundtrack of the 2023 Barbie movie and is perfect for beginners, intermediate pianists, and anyone who enjoys the music.âœ”ï¸ Ideal for students and pianists of all levels: Our easy piano sheet music is designed to be accessible for students and pianists of all skill levels. Whether you're a beginner or a more experienced musician, you can master this beautiful piece and impress with your interpretation.âœ”ï¸ From the Barbie movie soundtrack: What Was I Made For is one of the tracks from the soundtrack of the 2023 Barbie movie. With our sheet music, you can play this enchanting song during your practice sessions or performances, allowing you to be part of the magic of the film.âœ”ï¸ Captivating and emotional: Billie Eilish's music is known for its deep lyrics and engaging melodies. With our easy piano sheet music, you can immerse yourself in Billie Eilish's musical world and bring the melody and emotion of What Was I Made For to life through your piano playing.âœ”ï¸ Professional quality: Our sheet music is created with a high standard of quality, ensuring an exceptional learning and performance experience. You will receive a complete and accurate score that provides all the necessary musical information for an authentic interpretation on the piano.âœ”ï¸ Instant and convenient access: Through our online sheet music sale platform, you'll have immediate access to the digital format of the What Was I Made For easy piano sheet music. This allows you to start practicing and playing this exciting song right away.Enhance your musical skills and create memorable moments with the easy piano sheet music for What Was I Made For by the talented Billie Eilish. Take this opportunity to immerse yourself in the music of one of the most acclaimed artists of our time. Start playing What Was I Made For today and let the beauty of Billie Eilish's music resonate through the keys of your piano.
$4.99
4.58 €
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Piano Facile
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Billie Eilish
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Glauco Fernandes
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What Was I Made For?
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Glauco Fernandes
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SheetMusicPlus
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