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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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XYLOPHONE
PORT AUTHORITY
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CHORALE - CHAN…
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CORNET
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PORT AUTHORITY
SheetMusicPlus
Partitions à imprimer
13 partitions trouvées
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1
PORT AUTHORITY
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Jazz
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JEAN COURTIOUX
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PORT AUTHORITY
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Jean Courtioux
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Horn,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba - SKU: A0.1007694 Composed by JEAN COURTIO...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Horn,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba - SKU: A0.1007694 Composed by JEAN COURTIOUX. Jazz. Score and parts. 13 pages. Jean Courtioux #3543897. Published by Jean Courtioux (A0.1007694). Cette partition pour jazz Big Band est écrite avec 2 Cors d'harmonie et 1 Tuba ajoutés aux traditionnels pupitres de trombones, trompettes, Saxes et rythmique.
$50.00
Sonate Jason, qui emporte la Toison d'or
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1 Piano, 4 mains
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INTERMÉDIAIRE
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Classique
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Carl Ditters von Dittersdorf
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Allan Badley
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Sonate Jason, qui emporte la T
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Artaria Editions
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.1485603 Composed by Carl Ditters von Dittersdorf. Arranged by Allan Badley. Classical. Score. 75 pages. A...
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1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.1485603 Composed by Carl Ditters von Dittersdorf. Arranged by Allan Badley. Classical. Score. 75 pages. Artaria Editions #1062669. Published by Artaria Editions (A0.1485603). Unlike the narratives concerning the death of Hercules, and his transformation into a god, and the dispute between Ajax and Ulysses over the weapons of Achilles, the story of Jason's capture of the Golden Fleece provided Dittersdorf with few opportunities for genuine pictorial writing. His explanation for the piano second theme in the first movement seems a little glib – it is, after all, a favourite device of his in non-programmatic works as well but Medea's beautiful soliloquy in the second movement, assigned here to the primo part and in all probability to a wind solo in the original, is as effective as anything in the extant orchestral scores of the Ovid symphonies. His choice of a Ciaconna for the Finale is not only highly appropriate given the heroic theme of the work, but also neatly solves the problem of how to end the symphony unconventionally in the absence of a transformation scene of the kind found in the other symphonies. Yet again, one marvels at Dittersdorf 's powerful creative imagination. The parts are marked carefully although Dittersdorf is not over-detailed in his instructions to the performers. The occasional copying errors provide insufficient evidence to determine whether the parts were copied from a piano score or prepared directly from the composer's full orchestral score. Little editorial work has been necessary to prepare this edition. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Like most eighteenth-century sources, the manuscript is at times inconsistent in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley.
$53.00
Hope of the World 12: Your King Comes Riding - original song for SATB choir by Stephen R Dalrymple
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Stephen R Dalrymple
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Stephen R Dalrymple
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Hope of the World 12: Your Kin
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Stephen R Dalrymple
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.818371 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Sacr...
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Choral Choir (SATB) - Level 3 - SKU: A0.818371 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Sacred. Octavo. 32 pages. Stephen R Dalrymple #6709745. Published by Stephen R Dalrymple (A0.818371). Hope of the World: 12 Your King Comes Riding original song for SATB choir and piano by Stephen R Dalrymple (with optional parts for Shofar or Trumpet)   sequenced by the composer music © 1999 Stephen R Dalrymple recording ℗ 2022 Stephen R Dalrymple presentation © 2022 Stephen R Dalrymple based on Zechariah 9, Psalm 118, and Matthew 21 ♫ Many of the predictions of Zechariah are futuristic, looking far ahead in history. There was no king of Judah in Zechariah’s day. The former exiles who had returned to Judah were under the authority of the Persians. Any king would have to be authorized by the higher secular authority. But Zechariah foresees a king who will enter Jerusalem, riding on a donkey. ♫ The choice of the animal here is important. The donkey is the beast of burden of the common man. (Analogous to an economic or dilapidated automobile.) Horses were primarily used by soldiers; something like a victor riding into town in a tank. Mules (Jewish law forbade the breeding of hybrid animals) were the choice of the wealthy. In Judea, they were evidently imported. David had Solomon ride into Jerusalem on his mule (something like a sports car.) But Zechariah sees Messiah will presenting Himself as king riding the transportation of the common person. On Psalm Sunday, about a week before Jesus’ death, the crowds quoted Zechariah 9 and Psalm 118 as Jesus offered Himself to the nation as king. ♫ Hope of the World is made of 2 suites of songs that present messianic prophecies from the Old Testament that are referenced in the New Testament. The first 8 songs center on the birth of Christ, the last 9, Christ’s life and passion. ♫ Includes 1) full score 2) SATB choir part on 2 staves 3) optional shofur part 4) optional trumpet part 5)full score for 10 inch tablet ♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.).
$2.00
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
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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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THE ICON OF THE INVISIBLE GOD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M.A. Morizio (A0.926661). In the first chapter of Paul’s letter to the Colossians, we discover the next known Hymn to Christ right after his introductory passages, beginning at the 15th verse. Paul opens this letter with a blessing, then immediately flows to one of the 1st century hymns, which I have called, The Icon of the Invisible God. The lyrics of this hymn are declarative, bold and illuminating as to whom the Christ figure is-the icon, the very image of the invisible God, the firstborn of all creation. The text makes it abundantly clear that Jesus is the authority; that He was there before all things, that He created all things, and that through Him all things hold together. This anthem is composed for SATB choir with Pipe Organ accompaniment. The meter is set to 6/8 time, with a rhythm tempo of Totally Alive; which is one actual definition of the word Holy. The anthem starts at a good clip (♪=100). The key is G Major, with an incidental and occasional flatted 5th (Dâ™) as a surprise-landing befitting to the text presented, as if to say, This is so amazing, how can it be? The flatted 5th gives the piece it's own identity and causes the listener to stand up and take notice whenever it occurs. When the hymn's lyrics glide into the all-important resolution, having made peace through the blood of the cross, the song retards and lands on a surprising musical cadence, the sixth chord (E Major). In this piece, the pipe organ is boldly featured as it supports and under girds the musical line, occasionally trumpeting its own victorious motifs and adding some contrapuntal elements, such as this duplet motif, in the pedal line. The final lyrics about Christ having reconciled everything to Himself, whether things on the earth or in the heavens, finish the piece with a great, ‘High-Church’ choral ending.
$1.99
Floating, Falling, Flying (parts for other instrumental combinations)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Tradit...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Traditional. 9 pages. Brian Chung Music #788560. Published by Brian Chung Music (A0.1188952). Floating, Falling, Flying was originally written as trio for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus). For those who have already purchased that original score, these supplemental parts will make possible the following instrumental combinations:Clarinet (for Oboe) creates a Clarinet/Violin/Piano trio.Clarinet (for Violin) creates an Oboe/Clarinet/Piano trio (heard on sample audio file).Flute (for Violin) creates an Oboe/Flute/Piano trio.The Piano part in the original score is unchanged for all combinations. For Flute/Clarinet/Piano, please purchase the separate version optimized for that instrumentation (#1288002 on Sheet Music Direct, #A0.1192373 on Sheet Music Plus). Composer's Commentary on YouTube:  https://youtu.be/7Isy0t6VzasSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece for student concerts, recitals and Solo and Ensemble festivals.Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$6.00
Floating, Falling, Flying (for Flute, Clarinet and Piano)
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Flûte, Clarinette, Piano (trio)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditio...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditional. Score and parts. 17 pages. Brian Chung Music #791812. Published by Brian Chung Music (A0.1192373). This version of Floating, Falling, Flying is optimized for Flute, Clarinet and Piano. The original trio written for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus) is now available for several instrumental combinations.YouTube Composer's Commentary:  https://youtu.be/AGq1Y14PHIUSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying†depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece appropriate for school concerts, recitals and Solo and Ensemble festivals.  Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$18.00
Floating, Falling, Flying (original version for Oboe, Violin and Piano)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 4 - SKU: A0.1188926 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,T...
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Instrumental Duet,Piano Instrumental Duet,Oboe,Piano,Violin - Level 4 - SKU: A0.1188926 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Thriller,Traditional. 18 pages. Brian Chung Music #788535. Published by Brian Chung Music (A0.1188926). Have you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano). Composer's Commentary on YouTube: https://youtu.be/AGq1Y14PHIU In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece appropriate for school concerts, recitals and Solo and Ensemble festivals.  Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$18.00
Annian a Kinatan-okmo
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Chorale SATB
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AVANCÉ
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Ateneo Chamber Singers
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Annian a Kinatan-okmo
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MR. JOY T. NILO
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.815260 By Ateneo Chamber Singers. By Joy T. Nilo. 20th Century,Contemporary,Sacred. Octavo. 10 pages. MR....
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.815260 By Ateneo Chamber Singers. By Joy T. Nilo. 20th Century,Contemporary,Sacred. Octavo. 10 pages. MR. JOY T. NILO #2020269. Published by MR. JOY T. NILO (A0.815260). Just like a painter who tries to catch God’s image on a canvass, the composer strives to catch it on a soundscape. He starts depicting the mystery of God in dayaw ken lawag kawesmo (you are clothed in honor and light) juxtaposed with God’s vast greatness in naindaklan ka unay (you are great) and God’s authority in pannakabalin mot’ agturay (you power rules). With strokes of faith he paints toy kararwak agdaydayaw kenka (my soul worships you). Then he begins to unravel God’s majesty in pagluganam dagiti ulep, pagsakayam ti payak ti angin (you ride on clouds and soar through the wings of the air) before portraying God’s influence over creation in langit ken daga napnuan iti gloriam (heaven and earth are full of your glory). He then struggles to create the best sound describing God by blending all these elements. Finally, he comes to the realization that God is INDESCRIBABLE and just exclaims what he has been saying all along, Annian a kinatan-okmo! (How precious You are!).
$5.00
Piano Trio in E flat major, Op. 2
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Dianne James
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Piano Trio in E flat major, Op
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Artaria Editions
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1065108. Published by Artaria Editions (A0.1488222). The Piano Trio in E flat, Op.2 was published by Simrock in 1807 with a dedication to Monsieur le Comte de Browne, Brigadeur au Service de S.M.J. de toutes les Russies. It is a generously proportioned work in the usual three movements. The lengthy sonata-from first movement is prefaced by a slow introduction which begins on dominant seventh harmony (a nod perhaps to Beethoven's first symphony), slowly finding its way to the tonic by the start of the Allegro section. The brief development section modulates widely, including references to keys as distant as E minor and C major, while the substantially rewritten and varied recapitulation touches on both B and G majors. The slow movement, Andante un poco Allegretto , is cast in the key of C minor and features many solos and duets for the string instruments as well as further harmonic interest, especially in the central modulating episode from bar 46. The finale is a sonata-rondo design complete with all the usual tricks, including even a remote transposition of the refrain late in the movement to B major, a technique surely learned from Beethoven. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Simrock's edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The piano part is most successfully realised on an instrument extending as far as c4, although since such instruments were by no means standard in the first decade of the 19th century, Ries has notated the part carefully to cater for instruments without an extended treble compass. Any alternative readings have been incorporated into the current edition exactly as they appear in the Simrock print. In an instance such as bars 298-309 of the finale for example, instruments with the extended compass should follow the small print in bars 298 and 309, and in between read the notes an octave higher according to the composer's 8ve marking. Instruments with a limited compass should play the notes as written, without the octave transposition of bars 299-309. The cello part contains several passages written in the treble clef. Evidence that these should sound an octave lower than written is provided by bars 74-80 of the first movement and 85-89 of the finale. In the first instance, awkward octave displacements would result if this passage were played literally; in the second instance, some unacceptable part crossing between violin and cello would result from a literal rendition of these two bars. Accordingly then, all passages written in the treble clef should be transposed down an octave. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
$37.00
Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky) (2009) oratorio for sopra
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: The Revelations
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #30254...
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Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #3025403. Published by Musik Fabrik Music Publishing (A0.535382). The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano,baritone, chorus, and chamber orchestra (0000.1100.1perc.strings), was commissioned for and is dedicated to the choir ofRoyal Holloway, University of London and Rupert Gough, director of choral music.The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416).Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguagebook written by a woman. Considered one of the most significant English mystics of alltime, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (hertrue name is unknown). Regarded even during her lifetime as a spiritual authority, her optimisticvisions have been very influential in the years that have followed.Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe(translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674),and a poem by the American writer Elizabeth Kirschner (b. 1955).The primary concept underlying this oratorio is the presence of two distinct discourses. One is asequence taken from Julian’s religious visions. The other is a sonic geography of Nantucket Island(located 30 miles off the coast of Massachusetts in the United States). This interconnected conceptwas inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Livinghis entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the transpositionof religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery ofdistinctly Orcadian character.)The landscape of Nantucket Island has been the driving force behind a large number of mycompositions for many years. In this oratorio, Julian’s visions are transposed from Norwich andmapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes:a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Muchof the music was planned in the actual locations. Since the soloists and choir must, by necessity, singthe words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role issubstantially greater than simply accompaniment.Because of these two discourses, the oratorio is not intended as comprehensive working out of allaspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes herbeautiful words, and the fundamentals of her visions, and attempts to create a new narrative andspiritual experience from them.This is the full score. The vocal score is available for sale. The parts are available on rental from the publisher.
$32.95
The Cats' Duet
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Chorale SATB
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INTERMÉDIAIRE
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Contemporain
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Graham Charles, Graham Charles
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Elzbieta Ambrose
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The Cats' Duet
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Elizabeth
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1002444 Composed by Graham Charles, Graham Charles (Abc Sattler, and Leonie Marion Cambage. Arranged by Elzbieta...
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Choral Choir (SATB) - Level 3 - SKU: A0.1002444 Composed by Graham Charles, Graham Charles (Abc Sattler, and Leonie Marion Cambage. Arranged by Elzbieta Ambrose. Contemporary. Octavo. 13 pages. Elizabeth (Elzbieta) Ambrose #6437199. Published by Elizabeth (Elzbieta) Ambrose (A0.1002444). The original name Duetto Buffo di Due Gatti (Comic Duet for Two Cats) composed by Giacomo Rossini is a comedy composition in an opera style. This arrangement is for four voices with piano accompaniment.Piano is a part of an act, starting too loudly and ‘shushed’ by four cats in bar two who are satisfied in bar 3 with mp playing. Bar 4 of the piano accompaniment adds an extra note to please all four cats. Please treat this music like a dialogue of four characters with the high authority from the bass line. The discussion turns to perfect harmony in bar 34 (Andantino) to move to dialogue between three voices against the soprano cat which wants to show of with the final cadence. This could be treated accordingly to soprano’s range and imagination. The given ending is only a suggestion. It can easily end on top ‘C’ or 'F'. The most important is the accuracy and security of each voice. They need to reflect the spirit of the characters. It is interesting how one simple miau can make this music so expressive. It is fun to sing and a treat to listen to. This is a very good choice for a light-hearted number for any concert, from an opera to recital. Four single voices could be doubled if once prefers. It could be challenging for the choir to keep the tight accuracy of each line but not impossible. Definitely a good choice for four secure voices who are eager to entertain.
$1.99
Sonata for Pianoforte with Flauto Obbligato, Op.87 (for flute and piano)
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Uwe Grodd
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Sonata for Pianoforte with Fla
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Artaria Editions
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.1488844 Composed by Ferdinand Ries. Arranged by Uwe Grodd. Classical. Score and part. 29 pages. Artaria Editions #106569...
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Flute,Piano - Level 3 - SKU: A0.1488844 Composed by Ferdinand Ries. Arranged by Uwe Grodd. Classical. Score and part. 29 pages. Artaria Editions #1065698. Published by Artaria Editions (A0.1488844). Artaria Editions AE438This edition is based on Ries' autograph score. It is, for the most part, carefully written and presents few difficulties to the editor. Nonetheless, there are instances where dynamic markings and articulations are ambiguous and, in some places, where the pitches are unclear. In order to facilitate performance, the style and notation of articulation and dynamic markings have been standardized throughout, and, where missing from the autograph, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are places within brackets. Uwe Grodd's research for this edition was made possible with the support of a grant from the University of Auckland Research Committee UARC. Allan Badley, Uwe Grodd.
$30.00
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