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Quintette de Saxophone: 5 saxophones
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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It Takes Two: String Bass
Partitions à imprimer
28 partitions trouvées
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It Takes Two: String Bass
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PC-0016889_SB String Bass. Co…
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String Orchestra - Digital Download SKU: AX.00-PC-0016889_SB String Bass. Composed by Chris M. Bernotas. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016889_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016889_SB). UPC: 038081496610.This appealing tango is full of drama and passion, with an aggressive, dark theme and strong rhythm. Each member of the ensemble gets a moment in the spotlight and will surely enjoy achieving the challenges of their part. The melody, countermelody, and tango rhythm will have them dancing! (2:00)Concert/Contest.
$5.99
5.5 €
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Orchestre à Cordes
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Chris M
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It Takes Two: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Choral from the Cantata BWV 77 (for String Quintet with Piano accompaniment)
Quintette à cordes: 2 violons, alto, violoncelle, basse
String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 3 - Digital Download SKU: A…
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String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1470680 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Christian,Praise & Worship,Religious. 8 pages. Rodrigo Faleiros #1048171. Published by Rodrigo Faleiros (A0.1470680). ---'---'---'---'---'---'---'---'---'---'---'---'---'This arrangement of Bach's Choral from Cantata BWV 77 for string Quintet preserves the integrity and beauty of the original harmonization while adapting it for a different ensemble. Each of the five string instruments — two violins, viola, cello and double bass — takes on one of the vocal lines, allowing the rich textures and intricate voice leading to shine through in a new timbral context. The arrangement maintains the Choral's straightforward structure, making it accessible yet deeply expressive, and highlights the individual voices while creating a cohesive, resonant sound that captures the essence of Bach's masterful composition.Key Features:- For String Quintet - two violins, viola, cello and double bass- With Piano Accompaniment➡️ Check out my other arrangements clicking here! ⬅️'---'---'---'---'---'---'---'---'---'---'---'---'---'.
$9.99
9.17 €
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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Johann Sebastian Bach
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Rodrigo Faleiros
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Choral from the Cantata BWV 77
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Rodrigo Faleiros
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SheetMusicPlus
Choral from the Cantata BWV 77 (for String Quintet with Piano accompaniment)
Quintette à cordes: 2 violons, alto, violoncelle, basse
String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 3 - Digital Download SKU: A…
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String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.1470679 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Christian,Praise & Worship,Religious. 8 pages. Rodrigo Faleiros #1048170. Published by Rodrigo Faleiros (A0.1470679). ---'---'---'---'---'---'---'---'---'---'---'---'---'This arrangement of Bach's Choral from Cantata BWV 77 for string Quintet preserves the integrity and beauty of the original harmonization while adapting it for a different ensemble. Each of the five string instruments — two violins, viola, cello and double bass — takes on one of the vocal lines, allowing the rich textures and intricate voice leading to shine through in a new timbral context. The arrangement maintains the Choral's straightforward structure, making it accessible yet deeply expressive, and highlights the individual voices while creating a cohesive, resonant sound that captures the essence of Bach's masterful composition.Key Features:- For String Quintet - two violins, viola, cello and double bass- With Chord Symbols- With Piano Accompaniment➡️ Check out my other arrangements clicking here! ⬅️'---'---'---'---'---'---'---'---'---'---'---'---'---'.
$9.99
9.17 €
#
Quintette à cordes: 2 violons, alto, violoncelle, basse
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Johann Sebastian Bach
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Rodrigo Faleiros
#
Choral from the Cantata BWV 77
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Rodrigo Faleiros
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SheetMusicPlus
It Takes Two
String Ensemble Bass Voice,Brass,Drums,Guitar,Percussion,Piano - Digital Download SKU: …
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String Ensemble Bass Voice,Brass,Drums,Guitar,Percussion,Piano - Digital Download SKU: A0.1339034 Arranged by Tunescribers. Funk. ArrangeMe #37923. Published by ArrangeMe (A0.1339034).
$15.95
14.65 €
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Tunescribers
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It Takes Two
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ArrangeMe
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bassoon 2
Basson
Bassoon Solo - Level 5 - Digital Download SKU: A0.1018881 Composed by Benjamin Harr…
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Bassoon Solo - Level 5 - Digital Download SKU: A0.1018881 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6056091. Published by Benjamin Sajo (A0.1018881). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
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Basson
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Benjamin Harry Sajo
#
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bassoon 2
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Benjamin Sajo
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bassoon 1
Basson
Bassoon Solo - Level 5 - Digital Download SKU: A0.1018880 Composed by Benjamin Harr…
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Bassoon Solo - Level 5 - Digital Download SKU: A0.1018880 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6056089. Published by Benjamin Sajo (A0.1018880). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
#
Basson
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Benjamin Harry Sajo
#
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bassoon 1
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Benjamin Sajo
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged …
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Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. www.jamesguthrie.com.
$47.95
44.03 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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jmsgu3
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SheetMusicPlus
Westerly for flute, violin and string orchestra (SCORE and PARTS)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Co…
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Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 64 pages. David Warin Solomons #566725. Published by David Warin Solomons (A0.576980). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. Â The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. The pdf file contains score and parts.
$17.00
15.61 €
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David Warin Solomons
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Westerly for flute, violin and string orchestra
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David Warin Solomons
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SheetMusicPlus
Westerly for flute, violin and string orchestra (SCORE only)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Co…
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Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 27 pages. David Warin Solomons #566727. Published by David Warin Solomons (A0.576981). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music.
$10.00
9.18 €
#
David Warin Solomons
#
Westerly for flute, violin and string orchestra
#
David Warin Solomons
#
SheetMusicPlus
Mack the Knife: String Bass
Contrebasse (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017200_SB String Bass. Compo…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017200_SB String Bass. Composed by Bertolt Brecht and Kurt Weill. Arranged by Dave Wolpe. Broadway; Jazz. Part. 6 pages. Alfred Music - Digital Sheet Music #00-PC-0017200_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017200_SB). UPC: 038081407777.This awesome vocal chart takes it away with four half-step up modulations. Features a written-out tenor solo and big shout chorus. Arranged in two keys for optimum flexibility. The high key starts out in B-flat (vocal range from middle C to F top line, treble clef) and the low key starts in E-flat (vocal range from low F below middle C to B-flat, second space). (3:50).
$3.00
2.75 €
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Contrebasse (partie séparée)
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Bertolt Brecht and Kurt Weill
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Dave Wolpe
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Jazz
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Mack the Knife: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Contrabass
Contre Basse
Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018899 Composed …
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Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.1018899 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6056133. Published by Benjamin Sajo (A0.1018899). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
#
Contre Basse
#
Benjamin Harry Sajo
#
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Contrabass
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Benjamin Sajo
#
SheetMusicPlus
Choral from the Cantata BWV 77 (for String Quintet)
String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1470…
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String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1470677 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Christian,Praise & Worship,Religious. 7 pages. Rodrigo Faleiros #1048166. Published by Rodrigo Faleiros (A0.1470677). ---'---'---'---'---'---'---'---'---'---'---'---'---'This arrangement of Bach's Choral from Cantata BWV 77 for string quintet preserves the integrity and beauty of the original harmonization while adapting it for a different ensemble. Each of the five string instruments — two violins, viola, cello and double bass — takes on one of the vocal lines, allowing the rich textures and intricate voice leading to shine through in a new timbral context. The arrangement maintains the Choral's straightforward structure, making it accessible yet deeply expressive, and highlights the individual voices while creating a cohesive, resonant sound that captures the essence of Bach's masterful composition.Key Features:- For String Quintet - two violins, viola, cello and double bass- With Chord Symbols➡️ Check out my other arrangements clicking here! ⬅️'---'---'---'---'---'---'---'---'---'---'---'---'---'.
$7.99
7.34 €
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Johann Sebastian Bach
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Rodrigo Faleiros
#
Choral from the Cantata BWV 77
#
Rodrigo Faleiros
#
SheetMusicPlus
Choral from the Cantata BWV 77 (for String Quintet)
String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1470…
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String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1470678 Composed by Johann Sebastian Bach. Arranged by Rodrigo Faleiros. Baroque,Chamber,Christian,Praise & Worship,Religious. 7 pages. Rodrigo Faleiros #1048167. Published by Rodrigo Faleiros (A0.1470678). ---'---'---'---'---'---'---'---'---'---'---'---'---'This arrangement of Bach's Choral from Cantata BWV 77 for string Quintet preserves the integrity and beauty of the original harmonization while adapting it for a different ensemble. Each of the five string instruments — two violins, viola, cello and double bass — takes on one of the vocal lines, allowing the rich textures and intricate voice leading to shine through in a new timbral context. The arrangement maintains the Choral's straightforward structure, making it accessible yet deeply expressive, and highlights the individual voices while creating a cohesive, resonant sound that captures the essence of Bach's masterful composition.Key Features:- For String Quintet - two violins, viola, cello and double bass➡️ Check out my other arrangements clicking here! ⬅️'---'---'---'---'---'---'---'---'---'---'---'---'---'.
$7.99
7.34 €
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Johann Sebastian Bach
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Rodrigo Faleiros
#
Choral from the Cantata BWV 77
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Rodrigo Faleiros
#
SheetMusicPlus
Mozart: Ein Musikalischer Spass K522 (A Musical Joke) - symphonic wind dectet/bass
B-Flat Clarinet,Bassoon,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A…
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B-Flat Clarinet,Bassoon,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1195142 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Chamber,Classical,Comedy. 92 pages. RayThompsonMusic #794318. Published by RayThompsonMusic (A0.1195142). Arranged symphonic wind dectet/bassA Musical Joke (in German: Ein musikalischer Spaß) K. 522, (Divertimento for two horns and string quartet) is a composition by Wolfgang Amadeus Mozart; the composer entered it in his Verzeichnis aller meiner Werke (Catalogue of All My Works) on June 14, 1787. Commentators have opined that the piece's purpose is satirical – that [its] harmonic and rhythmic gaffes serve to parody the work of incompetent composers – though Mozart himself is not known to have revealed his actual intentions.The title A Musical Joke might be a poor rendering of the German original: Spaß does not necessarily connote the jocular, for which the word Scherzwould more likely be used. In Fritz Spiegl's view, a more accurate translation would be Some Musical Fun. The sometimes-mentioned nicknames Dorfmusikantensextett (village musicians' sextet) and Bauernsinfonie (farmers' symphony) were added after Mozart's death.The piece consists of four movements and takes about 20 minutes to perform. Allegro (sonata form), F major Menuetto and trio, F major (trio in B-flat major) Adagio cantabile, C major Presto (sonata rondo form), F major  In a modernised version by Waldo de los Rios, the opening of the finale of A Musical Joke was used for many years as the theme tune to the BBC's Horse of the Year Show.The mp3 is of the Finale.
$24.99
22.95 €
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Ein Musikalischer Spass K522
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RayThompsonMusic
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bass Trombone
Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1018890 Compos…
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Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1018890 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6056111. Published by Benjamin Sajo (A0.1018890). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Bass Trombone
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Benjamin Sajo
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SheetMusicPlus
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Triangle, Cymbals, Bass Drum
Multi-Percussion,Percussion Solo - Level 5 - Digital Download SKU: A0.1018892 Compo…
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Multi-Percussion,Percussion Solo - Level 5 - Digital Download SKU: A0.1018892 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6056119. Published by Benjamin Sajo (A0.1018892). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.21 €
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Triangle, Cymbals, Bass Drum
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Benjamin Sajo
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SheetMusicPlus
Les Indes Galantes - Les Sauvages
Quatuor à cordes: 2 violons, alto, violoncelle
Violin, Viola, Cello, Double Bass - Advanced Intermediate - Digital Download Composed by…
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Violin, Viola, Cello, Double Bass - Advanced Intermediate - Digital Download Composed by Jean Phillipe Rameau. Baroque Period, Repertoire, European, Easter, Recital. Score, Set of Parts. 9 pages. Published by Arte Nova Music Lab
Les Indes Galantes (French: "The Amorous Indies") is an opera by Jean-Philippe Rameau with a libretto by Louis Fuzelier. It takes the form of an opéra-ballet with a prologue and (in its final form) four entrées (acts). Following an allegorical prologue, the four entrées have distinct and separate plots, but are unified by the theme of love in exotic places (The Ottoman Empire, Peru, Persia, and North America). The most famous pieces from the work, Danse des Sauvages and the final Chaconne, come from the final entrée (Les sauvages). The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette. The Sauvages: The stage shows a grove in a forest in America, on the borders of the French and Spanish colonies, where the ceremony of the Peace Pipe is about to be celebrated Adario, a Native American, is in love with Zima, daughter of a native chief, but he fears the rivalry of the Spaniard Don Alvar and the Frenchman Damon (Air: Rivaux des mes exploits, rivaux des mes amours). The Europeans plead with Zima for her love, but she says Damon is too fickle and Alvar is too jealous; she prefers the natural love shown by Adario (Air: Sur nos bords l'amour vole) and the couple vow to marry (Duet: Hymen, viens nous unir d'une chaîne éternelle). The act ends with the Europeans joining the natives in the ceremony of peace (Chorus: Forêts paisibles). Taken fromhttps://en.wikipedia.org/wiki/Les_Indes_galantes
$25.00
22.96 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Jean Phillipe Rameau
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Les Indes Galantes - Les Sauvages
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Arte Nova Music Lab
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SheetMusicPlus
March-Scherzo from Symphony No. 1
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.840481 Composed by Camille Saint-…
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Concert Band - Level 4 - Digital Download SKU: A0.840481 Composed by Camille Saint-Saens. Arranged by Ted R. Marcus. 19th Century,Classical,Contest,Festival,March,Romantic Period. Score and Parts. 109 pages. Ted R. Marcus #3088637. Published by Ted R. Marcus (A0.840481). Camille Saint-Saëns was only 17 when he wrote his first published symphony. But he already had a mature mastery of orchestral writing, along with the courage to defy convention: A march takes the place of the normal triple-meter scherzo movement. It's an unconventional march that starts with an elegant melody, surveys a wide range of emotions, and dissipates into a quiet ending. It's really neither a march nor a scherzo, but something all its own.This colorful concert band arrangement was written for an adult community band. It's appropriate for a college or community band, or an adventurous high school wind ensemble. It features two solo flutes, two solo clarinets, soprano saxophone, vibraphone, and marimba (the vibraphone part is cued to allow performance without the marimba). It also requires strong oboe and bassoon players. Extensive cues allow rehearsal and performance without oboes, bassoons, soprano saxophone, and/or mallet percussion.  Duration: approx. 5:00. The audio clip is a complete performance by the Peninsula Symphonic Winds. Instrumentation: Flute 1A and 1B (two solo players) / Flute 2 / Oboe 1-2 / Clarinet 1A and 1B (two solo players) / Clarinet 2-3 / Alto Clarinet / Bass Clarinet / E-flat Contra-alto clarinet (optional alternate for string bass) / B-flat Contrabass Clarinet (optional alternate for string bass) / Bassoon 1-2 / Soprano Saxophone / Alto Saxophone / Tenor Saxophone / Baritone Saxophone / Trumpet 1-2-3 / Horn 1-2-3-4 / Trombone 1-2-3 / Euphonium / Baritone T.C. / String Bass / Vibes / Marimba (Vibes part has cues for performance without marimba)  Please visit my Web site to explore more classics for adventurous concert bands.
$45.00
41.32 €
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Orchestre d'harmonie
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Camille Saint-Saens
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Ted R
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March-Scherzo from Symphony No. 1
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Ted R. Marcus
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SheetMusicPlus
Almost May Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Dow…
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
22.95 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
Black Velvet
String Ensemble,String Trio - Level 2 - Digital Download SKU: A0.515764 By Alannah …
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String Ensemble,String Trio - Level 2 - Digital Download SKU: A0.515764 By Alannah Myles. By Christopher Ward and David Tyson. Arranged by Eve C. Mailly. Blues,Contemporary,Jazz,Pop,Rock. Score and parts. 18 pages. Zene Strings #4610585. Published by Zene Strings (A0.515764). Black Velvet is a song written by Canadian songwriters Christopher Ward and David Tyson, recorded by Canadian singer songwriter Alannah Myles. It contains blues verses with a rock chorus, and sounds great arranged for string trio! The cello takes the moving bass line, while the melody and harmony is shared by the upper strings.This arrangement can either be played by a violin, viola and cello, or two violins and cello. The middle part is included in both treble and alto clef, giving you great performance flexibility.Enjoy! From your friends at Zene Strings!To see our other great arrangements visit: Zene Sheet Music. Â Questions or comments? Â Email us at Music@ZeneSheetMusic.com. Â We're here to help!
$12.99
11.93 €
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Alannah Myles
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Eve C
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Black Velvet
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Zene Strings
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SheetMusicPlus
Beauty And The Beast
Orchestre à Cordes
String Orchestra - Level 2 - Digital Download SKU: A0.1308560 By Celine Dion & Peab…
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String Orchestra - Level 2 - Digital Download SKU: A0.1308560 By Celine Dion & Peabo Bryson. By Alan Menken and Howard Ashman. Arranged by David Kemp. Broadway,Film/TV,Musical/Show. Score and Parts. 12 pages. David Lloyd Kemp #897801. Published by David Lloyd Kemp (A0.1308560). Beauty and the Beast is a timeless classic from Disney's Beauty and the Beast, and it can be a wonderful addition to your Grade 2.5 string orchestra repertoire. This enchanting arrangement captures the essence of the tale as old as time, offering a musical journey through the magical world of Belle and the Beast.In this arrangement, your string orchestra will embark on a musical adventure filled with romance and wonder. The violins will carry the iconic melody, while the cellos and violas provide a warm and supportive harmony. The double basses add depth to the arrangement, creating a balanced and engaging sound that is accessible to intermediate-level players.The piece begins with a sense of mystery and curiosity, much like Belle's exploration of the enchanted castle. As it progresses, the music takes on a more tender and emotional quality, reflecting the evolving relationship between the two central characters. The arrangement maintains a moderate tempo and offers opportunities for expressive playing, allowing your young musicians to convey the emotions of the song.Beauty and the Beast is a perfect choice for your string orchestra, offering a beautiful and captivating performance that will transport your audience to the world of love and enchantment. This arrangement will not only showcase the progress and talent of your young musicians but also resonate with listeners of all ages as they are swept away by the timeless magic of this classic Disney song.
$49.99
45.9 €
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Orchestre à Cordes
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Celine Dion & Peabo Bryson
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David Kemp
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Beauty And The Beast
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David Lloyd Kemp
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SheetMusicPlus
Four Forces (First movement) I. Strong Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
275.48 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Four Forces (Second movement) II. Weak Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
137.74 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Almost May for Piano Solo
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi S…
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Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.
$3.99
3.66 €
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Piano seul
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Heidi Savoie
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Heidi Savoie
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Almost May for Piano Solo
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Heidi Savoie
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SheetMusicPlus
Almost May Lead Sheet
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi…
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C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
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Heidi Savoie
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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