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Vous avez sélectionné:
MY SWEET LYDIA
Partitions à imprimer
5 partitions trouvées
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MY SWEET LYDIA
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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the vocalist/bassist I
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MY SWEET LYDIA
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876449 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876449 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 33 pages. JoeCopio Music LLC #53329. Published by JoeCopio Music LLC (A0.876449). MY SWEET LYDIA Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MY SWEET LYDIA is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MY SWEET LYDIA makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MY SWEET LYDIA has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MY SWEET LYDIA includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99
That Is Not A Chew Toy (septet version / Blowholes)
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Jazz combo
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INTERMÉDIAIRE/AVANCÉ
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Blues
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Jazz
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Rob Birdwell
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That Is Not A Chew Toy
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Birdwell Music LLC
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SheetMusicPlus
Jazz Combo - Level 4 - SKU: A0.1004944 Composed by Rob Birdwell. Blues,Jazz. Score and parts. 34 pages. Birdwell Music LLC #4628569. Published by Birdwe...
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Jazz Combo - Level 4 - SKU: A0.1004944 Composed by Rob Birdwell. Blues,Jazz. Score and parts. 34 pages. Birdwell Music LLC #4628569. Published by Birdwell Music LLC (A0.1004944). A modern Lydian blues with teeth - swing chart with a bite!Scored for Trumpet, Alto, Tenor, Trombone, Guitar, Bass, DrumsA very popular tune with audiences and players. Based on a Lydian mode riff, the chart flows naturally and opens up with various solos to feature several players. There's a bit of a vocal shout (that is not a, that is not a...chew...toy!) - all told, this is one of my signature charts.Inspired by our puppy, Bella, as she chewed on just about everything in my studio - but what a sweetie!
$25.00
Anim Zemiros
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Chorale SATB
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AVANCÉ
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
SEVEN ANCIENT GREEK TUNES IN SEVEN MODES ΕΠΤΑ ΑΡΧΑΙΑ ΕΛΛΗΝΙΚΑ ΜΟΥΡΗ ΣΕ ΕΠΤΑ ΜΟΝ&T
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Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
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Trad, Alan Edgar, Euripides
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SEVEN ANCIENT GREEK TUNES IN S
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Alan Edgar Ted Moon
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SheetMusicPlus
String Quartet String Quartet - Level 2 - SKU: A0.1296046 Composed by Trad, Alan Edgar, Euripides. Early Music,Folk,Historic,Traditional. 24 pages. Alan...
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String Quartet String Quartet - Level 2 - SKU: A0.1296046 Composed by Trad, Alan Edgar, Euripides. Early Music,Folk,Historic,Traditional. 24 pages. Alan Edgar Ted Moon #886315. Published by Alan Edgar Ted Moon (A0.1296046). ΕΠΤΑ ΑΡΧΑΙΑ ΕΛΛΗÎΙΚΑ ΜΟΥΡΗ ΣΕ ΕΠΤΑ ΜΟÎΤΕΣ για ΚουαÏÏ„Îτο ΕγχόÏδων. The Seikilos epitaph. While you live, shine!. It is engraved on a pillar from the 1st or 2nd century CE. The melody Dorian: the harmony, as in all of these pieces, is mine. Garifolia (Carnation) Do you love me, my Carnation, or are you laughing at me?†“I love you, my Basil, I don’t laugh at youâ€. This song is Phrygian with characteristic 7/8 metre. KαÏπαθιωτικος. Karpathiotikos. About supplying olives. Aeolian.  ΓεÌννηση (Génnisi, Nativity)--a Greek Orthodox chant which may date back to the 4th Century Christ is born today. Mixolydian.Â Î‘Ï€Î¿Ì Ï„Î·Î½ ποÌÏτα (I walk past your door) so you can see me and be glad. I have made this traditional tune Lydian. Orestes  408 BC in Egypt. it is part of a chorus of Euripides’ tragedy. Locrian.  I weep, I weep. Kali chronia (Happy New Year) Beautiful girls have come to bring us a Happy New Year. One sweetly whistles, another sings. Ionian. 10 minutes.
$21.00
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MY SWEET LYDIA
