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Great Beginnings: Part 3 - Violin I
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Great Beginnings: Part 3 - Violin I
Partitions à imprimer
23 partitions trouvées
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1
20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
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Trombone
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INTERMÉDIAIRE
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Opera
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Classique
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Tom Ervin
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Marco Bordogni
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20 Counterparts from Book 1 Ro
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Gordon Cherry
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SheetMusicPlus
Trombone Solo - Level 3 - SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual pa...
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Trombone Solo - Level 3 - SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany
$25.00
Monteverdi - The Sixth Book of Madrigals - 06. Una donna fra I' altre
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Ensemble de cuivres
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INTERMÉDIAIRE
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Classique
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Sixth Book of
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.767275 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons ...
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Brass Ensemble - Level 3 - SKU: A0.767275 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons Music Services #3218689. Published by Lyons Music Services (A0.767275). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory 'scena', which Monteverdi calls Lamento d'Arianna. A little later, there is a set of 6 songs which he grouped together under the title Sestina. Here, the song is describing One woman amongst the others, honest and beautiful. Now, there's flattery for you! There is a subtitle to this song Concertato nel clavicembalo - Conducted from the harpsichord. Obviously, this is not possible in this transcription. The continuo part has been incorporated into the rests of all of the parts, without swamping the leading voices. As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
$5.99
A Billings Triptych - for 8-Part Brass Choir
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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William Billings
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Mike Allsen
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A Billings Triptych - for 8-Pa
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Aaron Hettinga
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1030615 Composed by William Billings. Arranged by Mike Allsen. Classical,Praise & Worship,Renaissance,Sacred,Spiritual. Score and parts. 41 pages. Aaron Hettinga #636010. Published by Aaron Hettinga (A0.1030615). William Billings (1746-1800) was North America’s first great choral composer. He spent most of his life in Boston, working at various times as a tanner or as minor civic official, and occasionally as a church musician. Billings seems to have had little formal music training, but when he was just 22, he also set himself up as an itinerant singing-master, teaching “singing-schools,†where children and adults could learn the rudiments of musical notation and solfege. To feed the market he and other singing-masters had helped to create, Billings published six collections of music, mostly for SATB voices, The first of these, The New England Psalm-Singer (1770) featured a frontispiece engraved by his friend Paul Revere. Billings was fairly prosperous by 1780s, but his good fortune faded in the 1790s. His final collection of music, The Continental Harmony of 1794, was published for his benefit by a group of Boston friends. Billings died destitute in 1800. Billings composed some 340 pieces, mostly collected in his printed editions. This music has a rough-edged and sturdy beauty that is distinctly different from anything in contemporary Europe. The vast majority of Billings’s works were hymns or “psalm tunes.†He was particularly attracted to the great English hymn-writer Isaac Watts (1674-1748), though Billings himself wrote verses for many of his hymns. One of the most famous Billings “psalm tunes,†Chester is not a Christian hymn, but rather a patriotic song of defiance directed against the British. Billings spent nearly all of the Revolutionary War in Boston and made no secret of his patriot sentiments. Chester was first published in 1770, but when he republished it in his The Singing-Master’s Assistant during the height of the war in 1778, Billings added a verse calling out the “infernal league†of the leading British generals Howe, Burgoyne, Clinton, Prescot and Cornwallis. Many brass-players will know Chester from the finale of William Schuman’s 1957 band piece A New England Triptych. Billings also composed over 50 “fuging-tunesâ€â€”a genre that usually included a short introduction and a repeated contrapuntal section. (These fuging sections usually begin with imitation, but they are otherwise not at all like classical fugues written in Europe at the time.) The fuging-tune Creation is one of his later works, published in The Continental Harmony of 1794, and experiments with the form. It sets two verses of the Watts hymn “When I With Pleasing Wonder Stand†though final line of verse 1 is repeated in a striking phrase that suddenly moves twice as fast (m.15). The fuging section begins in m.30, and rather than the usual exact repeat, Billing writes an entirely new and more elaborate second section beginning at m.44. Billings first published the simple but beautiful Africa in 1770, and published a revised version in 1778; the later version appearing with the Isaac Watts hymn “Now Shall My Inward Joys Arise.†I first arranged Africa in 1995, for the Glenwood Moravian Trombone Choir (Madison, WI), and I edited it for this publication. Phrasing and articulations marked here reflect the original vocal texts. Africa has long been a favorite of the Glenwood group. Chester and Creation were arranged in 2022. Mike Allsen February 2022.
$34.99
Great is Thy Faithfulness - Accompaniment track with no piano I
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Thomas Chisholm & William Runy
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Deborah Johnson
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Great is Thy Faithfulness - Ac
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Deborah Johnson
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SheetMusicPlus
Bass Voice,Drum Set,Guitar,Saxophone - Level 3 - SKU: A0.1378435 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Ea...
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Bass Voice,Drum Set,Guitar,Saxophone - Level 3 - SKU: A0.1378435 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Jazz,Praise & Worship,Spiritual. Accompaniment. Duration 192. Deborah Johnson #963058. Published by Deborah Johnson (A0.1378435). This is an MP3 accompaniment track that begins at measure 16 of this beautiful classic hymn Great is Thy Faithfulness, arranged by Deborah Johnson. The first 15 measures can be performed with a pianist and there is a drum lead-in to measure 16 with the swing style and the tempo change. This accompaniment track includes Piano II, which includes 4 measures 2x in the arrangement. (mm.81 and 127) It's sure to become a favorite with a timeless message as well as upbeat and inspiring arrangement. The song had its beginnings as a poem written by Thomas Chisholm (1923), who sent to his friend William Runyan, then putting it to music. It soon became an unofficial theme song for the Moody Bible Institute. It became even more popular when sung by George Beverly Shea and the choirs at the Billy Graham Crusades. The arrangement begins in a straightforward style with a simple piano theme then bursts into an easy swing arrangement with a solo vocal. In the sheet music, optional saxophone can double the piano melody line. There are also 2 short 4-measure sections for a Piano 2 part which can also be performed on a variety of C instruments and with or without saxophone. It is arranged for piano I and II with vocal solo and rhythm chords. It’s a contemporary arrangement of a timeless favorite! Medium difficulty. Can be performed with or without vocals with a solo instrument performiing the vocal solo. The full sheet music and other MP3 accompaniment tracks are also available in multiple combinations, without piano or vocals. On the album up for a GRAMMY Award, My Father’s Favorite Hymns album is available here: https://DJWorksMusic.com/products by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here:https://www.amazon.com/music/player/albums/B008O86FQII There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/ or https://DJWorksMusic.com/products/ YouTube link: https://youtu.be/b790NCTkxYo.
$8.99
Great is Thy Faithfulness - Accompaniment track with no piano & no saxophone
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Musique Sacrée
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Thomas Chisholm & William Runy
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Deborah Johnson
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Great is Thy Faithfulness - Ac
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Deborah Johnson
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SheetMusicPlus
Bass Voice,Drums,Guitar - Level 3 - SKU: A0.1378447 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Praise &...
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Bass Voice,Drums,Guitar - Level 3 - SKU: A0.1378447 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Praise & Worship,Religious,Spiritual. Accompaniment. Duration 192. Deborah Johnson #963070. Published by Deborah Johnson (A0.1378447). This is an MP3 accompaniment track that begins at measure 16 of this beautiful classic hymn Great is Thy Faithfulness, arranged by Deborah Johnson. The first 15 measures can be performed with a pianist and there is a drum lead-in to measure 16 with the swing style and the tempo change where saxophone or other instrument can double the piano I melody. It's sure to become a favorite with a timeless message as well as upbeat and inspiring arrangement. The song had its beginnings as a poem written by Thomas Chisholm (1923), who sent to his friend William Runyan, then putting it to music. It soon became an unofficial theme song for the Moody Bible Institute. It became even more popular when sung by George Beverly Shea and the choirs at the Billy Graham Crusades. The arrangement begins in a straightforward style with a simple piano theme then bursts into an easy swing arrangement with a solo vocal. In the sheet music, optional saxophone can double the piano melody line. There are also 2 short 4-measure sections for a Piano 2 part which can also be performed on a variety of C instruments and with or without saxophone. It is arranged for piano I and II with vocal solo and rhythm chords. It’s a contemporary arrangement of a timeless favorite! Medium difficulty. Can be performed with or without vocals with a solo instrument performiing the vocal solo. The full sheet music and other MP3 accompaniment tracks are also available in multiple combinations, without piano or vocals. On the album up for a GRAMMY Award, My Father’s Favorite Hymns album is available here: https://DJWorksMusic.com/products by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here:https://www.amazon.com/music/player/albums/B008O86FQII There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/ or https://DJWorksMusic.com/products/ YouTube link: https://youtu.be/yZK0tSw_wj8
$8.99
Great is Thy Faithfulness
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Musique Sacrée
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Thomas Chisholm & William Runy
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Deborah Johnson
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Great is Thy Faithfulness
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Deborah Johnson
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1377994 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Jazz,Pr...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1377994 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Jazz,Praise & Worship,Religious. Score. 10 pages. Deborah Johnson #962379. Published by Deborah Johnson (A0.1377994). This beautiful classic hymn Great is Thy Faithfulness, arranged by Deborah Johnson, is sure to become a favorite with a timeless message as well as upbeat and inspiring arrangement. The song had its beginnings as a poem written by Thomas Chisholm (1923), who sent to his friend William Runyan, then putting it to music. It soon became an unofficial theme song for the Moody Bible Institute. It became even more popular when sung by George Beverly Shea and the choirs at the Billy Graham Crusades. The arrangement begins in a straightforward style with a simple piano theme then bursts into an easy swing arrangement with a solo vocal. Optional saxophone can double the piano melody line. There are also 2 short 4-measure sections for a Piano 2 part which can also be performed on a variety of C instruments and with or without saxophone. It is arranged for piano I and II with vocal solo and rhythm chords. It’s a contemporary arrangement of a timeless favorite! Medium difficulty. Can be performed with or without vocals with a solo instrument performiing the vocal solo. The MP3 accompaniment track is also available in multiple combinations, without piano or vocals. On the album up for a GRAMMY Award, My Father’s Favorite Hymns album is available here: https://DJWorksMusic.com/products/ by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here: https://www.amazon.com/music/player/albums/B008O86FQI There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/ or https://DJWorksMusic.com/products/Â
$5.99
Great is Thy Faithfulness - Accompaniment track with no piano
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Thomas Chisholm & William Runy
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Deborah Johnson
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Great is Thy Faithfulness - Ac
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Deborah Johnson
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SheetMusicPlus
Bass Voice,Drum Set,Guitar,Saxophone - Level 3 - SKU: A0.1378426 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Ea...
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Bass Voice,Drum Set,Guitar,Saxophone - Level 3 - SKU: A0.1378426 Composed by Thomas Chisholm & William Runyan. Arranged by Deborah Johnson. Christian,Easter,Jazz,Praise & Worship,Spiritual. Accompaniment. Duration 192. Deborah Johnson #963048. Published by Deborah Johnson (A0.1378426). This is an MP3 accompaniment track without piano that begins at measure 16 of this beautiful classic hymn Great is Thy Faithfulness, arranged by Deborah Johnson. The first 15 measures can be performed with a pianist and there is a drum leadin to measure 16 with the swing style, saxophone entrance and the tempo change. It's sure to become a favorite with a timeless message as well as upbeat and inspiring arrangement. The song had its beginnings as a poem written by Thomas Chisholm (1923), who sent to his friend William Runyan, then putting it to music. It soon became an unofficial theme song for the Moody Bible Institute. It became even more popular when sung by George Beverly Shea and the choirs at the Billy Graham Crusades. The arrangement begins in a straightforward style with a simple piano theme then bursts into an easy swing arrangement with a solo vocal. In the sheet music, optional saxophone can double the piano melody line. There are also 2 short 4-measure sections for a Piano 2 part which can also be performed on a variety of C instruments and with or without saxophone. It is arranged for piano I and II with vocal solo and rhythm chords. It’s a contemporary arrangement of a timeless favorite! Medium difficulty. Can be performed with or without vocals with a solo instrument performiing the vocal solo. The full sheet music and other MP3 accompaniment tracks are also available in multiple combinations, without piano or vocals. On the album up for a GRAMMY Award, My Father’s Favorite Hymns album is available here: https://DJWorksMusic.com/products by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here:https://www.amazon.com/music/player/albums/B008O86FQII There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/ or https://DJWorksMusic.com/products/ YouTube link: https://youtu.be/b790NCTkxYoÂ
$8.99
Nocturne in D minor, Op. 43 No. 3
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2 Violoncelles (duo)
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INTERMÉDIAIRE
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Georg Goltermann
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Aaron Sinnett
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Nocturne in D minor, Op. 43 No
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Aaron Sinnett
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SheetMusicPlus
Cello Duet Cello - Level 3 - SKU: A0.1039439 Composed by Georg Goltermann. Arranged by Aaron Sinnett. Baroque,Children,Classical,Instructional,Tradition...
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Cello Duet Cello - Level 3 - SKU: A0.1039439 Composed by Georg Goltermann. Arranged by Aaron Sinnett. Baroque,Children,Classical,Instructional,Traditional. Score. 7 pages. Aaron Sinnett #644417. Published by Aaron Sinnett (A0.1039439). The Nocturne in D minor was originally composed for Cello solo and Piano accompaniment. This Cello Duet arrangement distills the piano part down to one line in cello 2. It is not as sparse as you might think. Take a listen to the duet version excerpt by me, the arranger, and hear for yourself. It has a satisfying simplicity, yet coaxes warm sonority from only two cellos. I hope you will enjoy this duet. This arrangement is part of a larger project. Its aim is to reduce pieces written for cello and piano to cello duet. I have played many works with piano, which were great experiences, thinking how great they would sound as cello duets. Once you begin playing music as cello duets you will be enamored with the homogeneous and resonant sounds emanating from your two instruments (you and your friend, that is). Or, perhaps you would like to make a duet video with yourself and post it on social media like in the video linked here, which is done with the original instrumentation, Cello and piano.
$2.99
When I Grow Up
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Piano, Voix
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INTERMÉDIAIRE
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Tim Minchin
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Brianne Lundberg
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When I Grow Up
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Brianne Lundberg
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.829234 Composed by Tim Minchin. Arranged by Brianne Lundberg. Broadway,Children,Contemporary,Film/TV,Musical/Show....
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Piano,Vocal,Voice - Level 3 - SKU: A0.829234 Composed by Tim Minchin. Arranged by Brianne Lundberg. Broadway,Children,Contemporary,Film/TV,Musical/Show. Score. 6 pages. Brianne Lundberg #5288581. Published by Brianne Lundberg (A0.829234). This playful piece from Matilda the Musical explores how children see grown ups and all that they imagine they will be able to do when they’re grown up. With a driving beat and a perfect balance between lightheartedness and solemnity, “When I Grow Up†is a fantastic and engaging modern musical theatre piece.This is an intermediate piano arrangement with optional vocal solo, set in the original key (F major). 5 pages (plus cover); includes repeats with 1st and 2nd endings. It is written in the same style as the original, but simplified to make it playable for an early to mid intermediate pianist. Good for smaller hands (largest harmonic interval is minor 7th). Includes chord symbols. This arrangement is a great standalone musical solo piece and includes all lyrics up through the verse originally written for Miss Honey; ends after this section (does not include the final upbeat section where Matilda's lyrics begin with Just because you find that life's not fair...).May be performed as a piano solo or as a vocal accompaniment. If used for vocal accompaniment, the vocalist should read the Treble staff of the piano part. Lyrics indicate which notes to follow. Vocalist should adjust octaves as needed. Lower harmonies are generally meant to be played by the pianist (not sung).See more previews of this sheet music at www.MusicAndTheory.com/when-i-grow-up-matilda.Brianne Lundberg is a Composer, Arranger, and Piano Instructor. In addition to publishing with Hal Leonard, she has independently published many arrangements and original compositions for piano and a variety of other instruments and ensembles. For more of Brianne's music or to request a custom arrangement, visit www.MusicAndTheory.com.
$5.99
I Heard The Bells On Christmas Day
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Orchestre
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INTERMÉDIAIRE
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Noël
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Henry Wadsworth Longfellow and
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C
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I Heard The Bells On Christmas
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FossPayneMusic
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1207032 Composed by Henry Wadsworth Longfellow and Johnny Marks. Arranged by C. Foster Payne. Christian,Christmas,Cla...
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Full Orchestra - Level 3 - SKU: A0.1207032 Composed by Henry Wadsworth Longfellow and Johnny Marks. Arranged by C. Foster Payne. Christian,Christmas,Classical,Religious,Traditional. Score and Parts. 76 pages. FossPayneMusic #805221. Published by FossPayneMusic (A0.1207032). An orchestral arrangement suitable for a church or larger orchestra with plenty of cue notes and substitute parts (including string reduction) of Johnny Marks' I Heard the Bells on Christmas Day (made popular by Bing Crosby). Starting with an exciting fanfare, the theme wanders through several moods with several soloistic sections as well as brass-centric sections with rich chords and stirring harmonies. This arrangement is a great way to begin any Christmas presentation!
$54.99
Monteverdi - The Sixth Book of Madrigals - 10. Qui rise Tirsi
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Ensemble de cuivres
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INTERMÉDIAIRE
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Classique
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Sixth Book of
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.767279 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 38 pages. Lyons ...
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Brass Ensemble - Level 3 - SKU: A0.767279 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 38 pages. Lyons Music Services #3218699. Published by Lyons Music Services (A0.767279). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory 'scena', which Monteverdi calls Lamento d'Arianna. A little later, there is a set of 6 songs which he grouped together under the title Sestina. This song, No 10 starts with the line Here Tirsi laughed and wriggled under the two(twin?) stars of the beautiful Clorinda I think you get the picture! We can see plenty of musical laughing and wriggling in the music with dotted rhythms and semiquaver runs. The top two voices are Clorinda (doing a fair amount of wriggling herself) while the bottom two take the part of Tirsi. There are places where all four voices give vent to an exclamation and where, presumably, the two lovers had to stop for breath! The original incorporates a very basic continuo part, which I have shared between the resting voices. As with all things madrigalian, the lyrics are rife with double entendres.
$4.99
Visconti Sforza Tarot Cards, opus 66 ... Twenty Two Salon Pieces For Two Pianos (1996) 15 La Tempera
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2 Pianos, 4 mains
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Thomas Oboe Lee
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Visconti Sforza Tarot Cards, o
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Thomas Oboe Lee
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - SKU: A0.869325 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Sco...
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Instrumental Duet Instrumental Duet,Piano - SKU: A0.869325 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 3 pages. Thomas Oboe Lee #2032491. Published by Thomas Oboe Lee (A0.869325). YouTube link: https://www.youtube.com/user/thomasoboelee/videosWhen the Reed sisters, Elizabeth & Lydia, asked me to write a new work for two pianos, I wasn't quite sure where or how to begin. Then I came upon a book on numerology by Annemarie Schimmel, The Mystery of Numbers. In it I discovered a lot of fascinating things, mystical and magical, associated with each number from one to 10,000. Since I would be writing a piece for a duo, double digits would do the trick. Number 22 stood out. It has two important associations: the Hebrew alphabet has 22 letters, and there are 22 major arcana cards or allegories of the Tarot. Perfect! I could write 22 pieces, each a musical rendering of a card. And, coincidentally, this work will opus 66.For pictorial inspiration, I bought a Pierpont Morgan Library copy of the Visconti-Sforza Tarot Cards from 15th century Italy. For musical inspiration, I listened to the wonderful salon music of the Polish composer Frederic Chopin, the American composer Louis Moreau Gottschalk, and the Brazilian composer Ernesto Nazareth.The 22 pieces in the Visconti-Sforza Tarot Cards are: Zero Il Matto The Fool entertains the gathered guests with a tarantella. I. Il Saltimbanco The Mountebank shuffles his cards and does a samba. II. La Papessa The High Priestess concocts a magic potion. III. L'Imperatrice The Empress dances all night. IV. L'Imperatore The Emperor promenades into the Great Hall and inspects the courtiers. V. Il Papa The Pope makes a proclamation that all sinners will be pardoned. VI. L'Amore Love in a tropical paradise. VII. Il Carro Triumphant in battle, the gladiators ride into town on chariots. VIII. La Giustizia Justice is swift and unrelenting. IX. Il Vecchio The Old Man reminisces. X. La Ruota della Fortuna Fortunes rise and fall unpredictably. XI. La Fortezza Strength and fortitude will prevail. XII. Il Penduto Lamentation for the Hanged Man. XIII. Il Morte Death lurks around the corner. XIV. La Temperanza Temperance in A major. XV. Il Diavolo The Devil seduces with his charm and wit. XVI. La Torre The tower topples and crashes onto the populace gathered below. XVII. La Stella Twinkle, twinkle, little star ... XVIII. La Luna Minuet for moonstruck lovers. XIX Il Sole Sunshine, margaritas and salsa cubana. XX Il Giudizio On the Day of Judgment, the angels blow their trumpets ... XXI. Il Mondo The world would be a happier place if we all dance together. Performance option: Shuffle the 22 allegory cards from the Tarot deck to determine the order of performance.
$9.99
Visconti Sforza Tarot Cards, opus 66 ... Twenty Two Salon Pieces For Two Pianos (1996) 05 L'Imperato
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2 Pianos, 4 mains
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Thomas Oboe Lee
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Visconti Sforza Tarot Cards, o
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Thomas Oboe Lee
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - SKU: A0.869318 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Sco...
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Instrumental Duet Instrumental Duet,Piano - SKU: A0.869318 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 3 pages. Thomas Oboe Lee #2032475. Published by Thomas Oboe Lee (A0.869318). YouTube link: https://www.youtube.com/user/thomasoboelee/videosWhen the Reed sisters, Elizabeth & Lydia, asked me to write a new work for two pianos, I wasn't quite sure where or how to begin. Then I came upon a book on numerology by Annemarie Schimmel, The Mystery of Numbers. In it I discovered a lot of fascinating things, mystical and magical, associated with each number from one to 10,000. Since I would be writing a piece for a duo, double digits would do the trick. Number 22 stood out. It has two important associations: the Hebrew alphabet has 22 letters, and there are 22 major arcana cards or allegories of the Tarot. Perfect! I could write 22 pieces, each a musical rendering of a card. And, coincidentally, this work will opus 66.For pictorial inspiration, I bought a Pierpont Morgan Library copy of the Visconti-Sforza Tarot Cards from 15th century Italy. For musical inspiration, I listened to the wonderful salon music of the Polish composer Frederic Chopin, the American composer Louis Moreau Gottschalk, and the Brazilian composer Ernesto Nazareth.The 22 pieces in the Visconti-Sforza Tarot Cards are: Zero Il Matto The Fool entertains the gathered guests with a tarantella. I. Il Saltimbanco The Mountebank shuffles his cards and does a samba. II. La Papessa The High Priestess concocts a magic potion. III. L'Imperatrice The Empress dances all night. IV. L'Imperatore The Emperor promenades into the Great Hall and inspects the courtiers. V. Il Papa The Pope makes a proclamation that all sinners will be pardoned. VI. L'Amore Love in a tropical paradise. VII. Il Carro Triumphant in battle, the gladiators ride into town on chariots. VIII. La Giustizia Justice is swift and unrelenting. IX. Il Vecchio The Old Man reminisces. X. La Ruota della Fortuna Fortunes rise and fall unpredictably. XI. La Fortezza Strength and fortitude will prevail. XII. Il Penduto Lamentation for the Hanged Man. XIII. Il Morte Death lurks around the corner. XIV. La Temperanza Temperance in A major. XV. Il Diavolo The Devil seduces with his charm and wit. XVI. La Torre The tower topples and crashes onto the populace gathered below. XVII. La Stella Twinkle, twinkle, little star ... XVIII. La Luna Minuet for moonstruck lovers. XIX Il Sole Sunshine, margaritas and salsa cubana. XX Il Giudizio On the Day of Judgment, the angels blow their trumpets ... XXI. Il Mondo The world would be a happier place if we all dance together. Performance option: Shuffle the 22 allegory cards from the Tarot deck to determine the order of performance.
$9.99
Visconti Sforza Tarot Cards, opus 66 ... Twenty Two Salon Pieces For Two Pianos (1996) 21 Il Giudizi
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2 Pianos, 4 mains
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Thomas Oboe Lee
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Visconti Sforza Tarot Cards, o
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Thomas Oboe Lee
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - SKU: A0.869331 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Sco...
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Instrumental Duet Instrumental Duet,Piano - SKU: A0.869331 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 3 pages. Thomas Oboe Lee #2033617. Published by Thomas Oboe Lee (A0.869331). YouTube link: https://www.youtube.com/user/thomasoboelee/videosWhen the Reed sisters, Elizabeth & Lydia, asked me to write a new work for two pianos, I wasn't quite sure where or how to begin. Then I came upon a book on numerology by Annemarie Schimmel, The Mystery of Numbers. In it I discovered a lot of fascinating things, mystical and magical, associated with each number from one to 10,000. Since I would be writing a piece for a duo, double digits would do the trick. Number 22 stood out. It has two important associations: the Hebrew alphabet has 22 letters, and there are 22 major arcana cards or allegories of the Tarot. Perfect! I could write 22 pieces, each a musical rendering of a card. And, coincidentally, this work will opus 66.For pictorial inspiration, I bought a Pierpont Morgan Library copy of the Visconti-Sforza Tarot Cards from 15th century Italy. For musical inspiration, I listened to the wonderful salon music of the Polish composer Frederic Chopin, the American composer Louis Moreau Gottschalk, and the Brazilian composer Ernesto Nazareth.The 22 pieces in the Visconti-Sforza Tarot Cards are: Zero Il Matto The Fool entertains the gathered guests with a tarantella. I. Il Saltimbanco The Mountebank shuffles his cards and does a samba. II. La Papessa The High Priestess concocts a magic potion. III. L'Imperatrice The Empress dances all night. IV. L'Imperatore The Emperor promenades into the Great Hall and inspects the courtiers. V. Il Papa The Pope makes a proclamation that all sinners will be pardoned. VI. L'Amore Love in a tropical paradise. VII. Il Carro Triumphant in battle, the gladiators ride into town on chariots. VIII. La Giustizia Justice is swift and unrelenting. IX. Il Vecchio The Old Man reminisces. X. La Ruota della Fortuna Fortunes rise and fall unpredictably. XI. La Fortezza Strength and fortitude will prevail. XII. Il Penduto Lamentation for the Hanged Man. XIII. Il Morte Death lurks around the corner. XIV. La Temperanza Temperance in A major. XV. Il Diavolo The Devil seduces with his charm and wit. XVI. La Torre The tower topples and crashes onto the populace gathered below. XVII. La Stella Twinkle, twinkle, little star ... XVIII. La Luna Minuet for moonstruck lovers. XIX Il Sole Sunshine, margaritas and salsa cubana. XX Il Giudizio On the Day of Judgment, the angels blow their trumpets ... XXI. Il Mondo The world would be a happier place if we all dance together. Performance option: Shuffle the 22 allegory cards from the Tarot deck to determine the order of performance.
$9.99
Monteverdi Madrigals Book 6 - 08. SESTINA
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Ensemble de cuivres
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INTERMÉDIAIRE
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Classique
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Claudio Monteverdi
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Mike Lyons
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Monteverdi Madrigals Book 6 -
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.767277 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 79 pages. Lyons ...
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Brass Ensemble - Level 3 - SKU: A0.767277 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 79 pages. Lyons Music Services #3218695. Published by Lyons Music Services (A0.767277). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The songs starting from no 8 form a set of 6 to which Monteverdi gave a separate title Sestina Within this set of songs Monteverdi creates a little dramatic episode which foreshadows many of the developments that we find in his early operas: Monody/recitative, dialogue between chorus and soloist, a tendency to give the high parts strong melodic lines and a clear division of the roles of the singers. For the time being, until someone asks, I am not going to release the separate songs from Sestina individually as some of them are a little short. A sestina is a complicated verse form of six stanzas each of six lines with rules about repeating the last line of the first stanza. The poetic form is of little use to us as instrumentalists, but the dramatic mourning, cries of anguish and the feelings of loss embodied in the music will come through regardless of the lack of words. As with all things madrigalian, the lyrics are rife with double entendres.
$15.99
Monteverdi - The Sixth Book of Madrigals - 03. Dove, dove è la fede
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Ensemble de cuivres
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INTERMÉDIAIRE
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Renaissance
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Classique
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Lyons Music Services
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Monteverdi - The Sixth Book of
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.767272 Arranged by Lyons Music Services. Baroque,Renaissance. Score and parts. 15 pages. Lyons Music Services #321868...
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Brass Ensemble - Level 3 - SKU: A0.767272 Arranged by Lyons Music Services. Baroque,Renaissance. Score and parts. 15 pages. Lyons Music Services #3218681. Published by Lyons Music Services (A0.767272). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory 'scena', which Monteverdi calls Lamento d'Arianna. A little later, there is a set of 6 songs which he grouped together under the title Sestina. This third song of Arianna's Lament is about a loss of belief or trust in one's lover. (TBH, I wouldn't trust him either!) As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
$5.99
Anew
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Jonathan P
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Anew
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Jonathan Kochik Music, LLC
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SheetMusicPlus
Euphonium,Low Brass Quartet,Tuba - Level 3 - SKU: A0.1451869 Composed by Jonathan P. Kochik (ASCAP). Chamber. 29 pages. Jonathan Kochik Music, LLC #1031...
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Euphonium,Low Brass Quartet,Tuba - Level 3 - SKU: A0.1451869 Composed by Jonathan P. Kochik (ASCAP). Chamber. 29 pages. Jonathan Kochik Music, LLC #1031179. Published by Jonathan Kochik Music, LLC (A0.1451869). Times of change are not always easy to go through in life. Maybe you have become comfortable with the way things are or, perhaps, you are so scared of change that just thinking about it gives you anxiety, but not all change is bad change. If we take a moment to observe the natural occurrences that take place around us every day – sunrises and sunsets, tides coming in and going out, the transformation of winter to spring – we can begin to see that change is a necessary part of growing and developing into who we. However, these moments in your life are not always easy ones. Anew explores the journey of someone experiencing a moment of great change in their life. What sort of emotions are they feeling? What thoughts are going through their head? As someone who has gone through a big shift in my career path, I wanted to compose a piece to help me process my emotions and organize the thoughts in my head on why I felt this change needed to happen. Having the motto “words fail music speaks,” I was inspired as a composer by way of ostinato rhythms, melodic extension, and juxtaposed musical styles to help unpack what words simply could not quantify.
$50.00
You Are My Salvation (Lead Sheet)
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Musique Sacrée
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Rick Lee James
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Rick Lee James
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You Are My Salvation
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Voices In My Head Productions LLC
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SheetMusicPlus
Small Ensemble - SKU: A0.942923 Composed by Rick Lee James. Arranged by Rick Lee James. Christian,Praise & Worship,Sacred,Spiritual. Score and parts. 2 ...
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Small Ensemble - SKU: A0.942923 Composed by Rick Lee James. Arranged by Rick Lee James. Christian,Praise & Worship,Sacred,Spiritual. Score and parts. 2 pages. Voices In My Head Productions LLC #6418991. Published by Voices In My Head Productions LLC (A0.942923). You Are My SalvationVerse 1When the waves are crashing and the storm won’t calmWhen I’ve lost direction and I can’t find homeWhen my guiding stars are hidden by the cloudsAnd the waves are surging in to pull me downI will call on Him who calms the raging seasTrusting he’ll be stronger than the storms in meWhen my journey takes me to the great unknownsYou are my SalvationVerse 2When I’ve lost myself and fallen to my sinWhen my shame blinds me to all the grace you giveWhen I’ve placed my trust in lies that I’ve believedAnd I wonder how my God could still love meChrist is interceding when I cannot prayGroaning words unknown that I may still be savedMy lament for sin now turns to songs of praiseYou are my SalvationVerse 3When the night surrounds me and my fears beginWhen my grief is threatening to do me inWhen the pain is crushing and I can’t escapeWhen the strength I had is slowly drained awayEven in death’s shadow on the darkest nightThere is not one breath that you have not suppliedGive me faith my Lord that with the Son I’ll riseYou are my SalvationVerse 4When the dawn breaks through and we are truly healedWhen we climb the stairs to what will be revealedWhen our days are lighted by the Risen LambWhen our tears are wiped away by God’s own handWhen creation’s birth is finally made completeWhen the guests are seated at the Savior’s feastWhat a day of gladness when we join their songYou are my SalvationCCLI Song # 7171093Rick Lee James© 2020 James, Rick LeeFor use solely with the SongSelect® Terms of Use. All rights reserved. www.ccli.comCCLI License # 549412
$1.99
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Bass Clef,
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00
IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Michael A
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IN THE BEGINNING WAS THE WORD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M.A. Morizio (A0.926671). My dear friend, and Pastor Don Colageo and I cut our teeth together with this piece when we decided to dive headlong into this cycle of Seven Anthems to Christ. It was the second song of the (SEVEN ANTHEMS TO CHRIST) cycle that I had composed, but the first using his Greek translation(s). It eventually would become the last piece to grace the cycle of seven in order of my musical presentation sequence. In fact, this known 1st century Hymn to Christ spans 18 verses of the first chapter of the Gospel of John. My setting of the anthem is seven plus minutes long in performance length. The song's length was not on purpose, but the number seven does have Biblical significance (seven days of creation, seven golden lamp stands, etc.) The number seven is also known among Biblical scholars as the number of Holiness and Perfect Creation. Since this rather long, yet theologically complete Hymn to Christ already existed in the 1st century, it is no wonder the Apostle John opted to begin his Gospel with it, probably quoting the entire text. Consequently, he converted this particular Hymn to Christ’s lyrics into what would later become canonized Scripture. The anthem is composed for SSATB with solo SSA trio, and Solo Soprano and Solo Baritone lines, accompanied by Flute and B♠Clarinet. The key signature of the anthem is B♠Major. However, a lot of time is spent weaving and bobbing around the Dominant chord, (F Major). The Flute and Clarinet introduction play seven different motifs, interweaving with counterpoint, musically connoting the dual natures of Christ--fully God, and fully man. An SSA trio opens the piece recounting the creation story. A bass solo shortly follows, introducing John the baptizer's story and purpose. Soon, the anthem breaks out into full SSATB illustrating Christ's life and purpose for our salvation. The final coda is the great Doxology, sung in 5 parts, accompanied by the Flute and Clarinet, and the entire congregation (or audience) is invited to sing along with the familiar tune.
$2.99
Auld Lang Syne
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Traditional
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Constance Clark
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Auld Lang Syne
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Constance Clark
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SheetMusicPlus
Woodwind Ensemble Flute - Level 2 - SKU: A0.1487149 Composed by Traditional. Arranged by Constance Clark. Chamber,Children,Holiday,Traditional. 7 pages....
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Woodwind Ensemble Flute - Level 2 - SKU: A0.1487149 Composed by Traditional. Arranged by Constance Clark. Chamber,Children,Holiday,Traditional. 7 pages. Constance Clark #1064119. Published by Constance Clark (A0.1487149). Arranged for easy flute choir (3+ C flutes), this simple, sweet arrangement of Auld Lang Syne is a great way to close out your holiday flute concert or recital. Duration: 1' 20This arrangement will work with 3+ C flutes. The three C flute parts are of varying difficulty. Flute 1 is the most difficult, and flute 2 is the easiest. Flute 1 and 2 both begin with solo sections. RangeFlute 1: D4-E6 Flute 2: D4-G5Flute 3: D4-B5I’d love to hear from you if you are considering or playing this piece. Any questions or feedback are welcome. Email: constance@constanceclarkflute.com.
$4.99
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Great Beginnings: Part 3 - Violin I
