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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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Piece for the youth
Non classifié
107
Piano & claviers
Piano seul
40
Piano, Voix
28
Instruments en Do
15
Piano Facile
5
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2
1 Piano, 4 mains
1
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1
Clavecin
1
Orgue
1
+ 4 instrumentations
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Guitare
3
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1
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132
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41
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36
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32
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12
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8
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1
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1
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1
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1
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1
+ 6 instrumentations
Retracter
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Flûte traversière
7
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7
Hautbois (partie séparée)
6
Clarinette
4
Saxophone Alto
4
Quatuor de Saxophones: 4 saxophones
4
Quatuor de Clarinettes: 4 clarinettes
4
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2
Clarinette et Piano
2
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2
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2
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2
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1
Flûte, Hautbois, Clarinette, Basson
1
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1
Saxophone Tenor et Piano
1
Clarinette, Guitare (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Violon, Piano
1
Quatuor de Flûtes : 4 flûtes
1
Cor anglais, Guitare (duo)
1
Hautbois, Piano (duo)
1
2 Saxophones (duo)
1
Trio de Flûtes: 3 flûtes
1
Quintette de Clarinettes: 5 clarinettes
1
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Cor
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
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4
Trompette
4
Trombone
4
Trombone et Piano
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Quatuor de cuivres: 4 trombones
1
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1
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1
Trombone, Tuba (duo)
1
Cor anglais, Guitare (duo)
1
Euphonium, Piano (duo)
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Trombone (duo)
1
Cor et Piano
1
+ 11 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
10
Violon
9
Alto, Piano
7
Violon et Piano
5
Violon, Violoncelle (duo)
5
Trio à Cordes: violon, alto, violoncelle
5
Contre Basse
4
Violoncelle
4
Violon, Alto (duo)
4
Violoncelle, Contrebasse (duo)
3
2 Violons (duo)
3
Alto seul
3
Violoncelle, Piano
2
Trio à Cordes: 2 violons, alto
2
Alto (partie séparée)
2
Trio à cordes: 3 violins
2
Violoncelle (partie séparée)
1
Contrebasse (partie séparée)
1
Quatuor à cordes: 4 violons
1
Violon, Clarinette, Piano (trio)
1
Trio à Cordes: 2 violons, violoncelle
1
Violon (partie séparée)
1
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51
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40
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12
Orchestre de chambre
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8
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6
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2
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2
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CORNET
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MANDOLINE
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ORGUE
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Voix Tenor, Piano
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AVANCÉ
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Contemporain
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fa...
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Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
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Violon, Clarinette, Piano (trio)
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AVANCÉ
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Adam Lenhart
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Two Scenes from The Rubá
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Adam Lenhart
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SheetMusicPlus
B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenha...
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B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
"Calisthenics for Treble/Alto Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Treble/
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bl_music
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SheetMusicPlus
Small Ensemble Alto Recorder,Baritone Recorder,Flute - Level 3 - SKU: A0.842538 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instru...
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Small Ensemble Alto Recorder,Baritone Recorder,Flute - Level 3 - SKU: A0.842538 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290011. Published by bl_music (A0.842538). Calisthenics for Treble/Alto Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: treble clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Great Bass Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Great B
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bl_music
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SheetMusicPlus
Small Ensemble Baritone Recorder,Bassoon - Level 3 - SKU: A0.842539 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Roma...
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Small Ensemble Baritone Recorder,Bassoon - Level 3 - SKU: A0.842539 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290017. Published by bl_music (A0.842539). Calisthenics for Great Bass Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: bass clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Bass Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Bass Re
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bl_music
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SheetMusicPlus
Small Ensemble Baritone Recorder,Bassoon,Cello - Level 3 - SKU: A0.842536 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructiona...
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Small Ensemble Baritone Recorder,Bassoon,Cello - Level 3 - SKU: A0.842536 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290001. Published by bl_music (A0.842536). Calisthenics for Bass Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: bass clef)15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores.What are Calisthenics?You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo)We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication CalisthenicsThe music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication.The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure.In the words of the old Victorians:The highest refinement of that beauty is unattainable without splendour of activity and delicate strength.Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing.Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied.Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs.A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Recorders in C" 15 Fun Studies,Gallops,Polkas,Variations
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Various
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B
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"Calisthenics for Recorde
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bl_music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone - Level 3 - SKU: A0.8...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone - Level 3 - SKU: A0.842537 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290007. Published by bl_music (A0.842537). Calisthenics for Recorders in C 15 Solo-Etudes, Gallops, Polkas, Variations (notation: treble clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
In the Evening by the Moonlight
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Ensemble de cuivres
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INTERMÉDIAIRE
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James Bland
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F
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In the Evening by the Moonligh
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. S...
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Brass Ensemble - Level 3 - SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. Sweetwater Brass Press #424503. Published by Sweetwater Brass Press (A0.817619). James Alan Bland, composer of “In the Evening by the Moonlight,” was a prolific song writer. He is said to have created the words and music for more than 600 compositions. Born in 1854 to a free African American family in Flushing, New York, he made a name for himself as musician, composer and minstrel performer. Among his compositions were “Oh, Dem Golden Slippers,” “In the Morning in the Bright Light” and “De Golden Wedding.” His most famous song by far was “Carry Me Back to Old Virginny,” which the State of Virginia used as its official anthem for over 50 years. Bland, in keeping with his persona as a minstrel, wrote the lyrics to “In the Evening by the Moonlight” in dialect. Years passed and sensitivities changed, but the song’s poignant melody and basic sentiment survived. Latter day recordings, such as those by Bing Crosby and the Ray Charles Singers, dropped the dialect and objectionable terms. One of the most notable versions was by singer, pianist and civil rights activist Nina Simone, released in 1960 on the album Nina at Newport. This brass quintet version begins with the group instrumentally humming along under an eight-measure Horn in F introduction. The first statement of the melody initially takes the form of a partial call-and-response between a Trombone/Horn duo and Trumpet 1, then switches to an exchange between Trumpet 1 and Tuba. Next, the melody is repeated but in a rhythmic pattern reminiscent of the 1880 tune “Here Dem Bells”; Tuba plays counterpoint. Third time around, the melody is presented almost exactly as Bland wrote it and as Hitchcock’s Music Store published it in 1880. Finally, the tempo slows and the melody is presented as so many have sung it around campfires at YMCA, 4-H and other youth camps all over the country: softly and tenderly. The arrangement ends with a brief recapitulation of the introduction. There are no really difficult or tricky rhythms in this arrangement. Trumpet 1’s highest note, which occurs in Section D, is A above its staff; Tuba’s lowest, G below the staff. Otherwise, there are no exceptionally high or low notes. The piece opens in the key of F major then, about halfway through, changes to G major. Tempo opens with a suggested MM of 104, speeds up to 120, slows to 66, increases again to 122 and finally slows to 66. Completed in 2022, performance time runs about 4 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95
In The Summertime (score - vln, vla, cel)
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 4 - SKU: A0.861849 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 14 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 4 - SKU: A0.861849 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 14 pages. Mark O'Connor Musik International #6203883. Published by Mark O'Connor Musik International (A0.861849). In The Summertime (score – vln, vla, cel) MO167AScore (parts available)Music by Mark O’Connor10 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together. We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167ACopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50
In The Summertime (viola part - vln, vla, cel)
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 4 - SKU: A0.861851 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 4 - SKU: A0.861851 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203887. Published by Mark O'Connor Musik International (A0.861851). In The Summertime (viola part – vln, vla, cel) MO167CViola Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167CCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
In The Summertime (violin part - vln, vla, cel)
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 4 - SKU: A0.861850 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 4 - SKU: A0.861850 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203885. Published by Mark O'Connor Musik International (A0.861850). In The Summertime (violin part – vln, vla, cel) MO167BViolin Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167BCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
In The Summertime (cello part - vln, vla, cel)
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Mark O'Connor
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In The Summertime
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 4 - SKU: A0.861852 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 4 - SKU: A0.861852 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203889. Published by Mark O'Connor Musik International (A0.861852). In The Summertime (cello – vln, vla, cel) MO167DCello Part (score and parts available)Music by Mark O’Connor4 pages - 6:00 minutes in length In The Summertime is comprised of two parts, with two distinct messages. The first speaks to the space of wonderment in our lives, where good friends and experiences surround us. A time spent looking forward to the continuing joy and merrymaking of the innocence and purpose that brought us together.We then travel to where agelessness ends, where innocence no longer lingers. The bitterness within a life that begins to be complicated where it wasn¹t before starts to overwhelm the sweetness on the tongue. Still, the B-section of the piece yearns backward and forward at the same time. Tugging at the memory of what came before to find and create meaning farther on.So many of us expect life to continue to deliver its many delights, without realizing that it was the innocence and freedom, the faith in the possible that created the delightful condition of youth. After a playful frolic with the instruments dancing about in the musical forest, the A and B parts return, reminding us that unlike time that moves ever forward, the journey back to the wonder and freedom of childhood awaits us all. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorThe accompanying MP3 is of Mark O’Connor’s Appalachia Waltz Trio (touring ensemble) with Becca Albers and Mike Block, performing live in 2007 at the Aspen Music Festival. Catalogue Number MO167DCopyright © 2006 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
A Feast for Christmas (a seasonal entertainment for SATB & optional youth choir)
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Chorale SATB
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INTERMÉDIAIRE
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Noël
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Alan Bullard
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A Feast for Christmas
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Colne Edition / BullardMusic
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1084615 Composed by Alan Bullard. Children,Christmas,Classical. Octavo. 36 pages. Colne Edition / BullardMusic #...
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Choral Choir (SATB) - Level 3 - SKU: A0.1084615 Composed by Alan Bullard. Children,Christmas,Classical. Octavo. 36 pages. Colne Edition / BullardMusic #688801. Published by Colne Edition / BullardMusic (A0.1084615). A seasonable celebration for SATB choir, optional youth choir and narrator, with piano (or brass quintet, or string quintet, score and parts available from www.colneedition.co.uk). Duration c. 25-30 minutes. This 8-movement cantata contrasts the cooking of the Christmas dinner with more reflective Christmas themes, with an opportunity for the audience to join in at the end. Ideal for Christmas concerts. We welcome you to our ‘Feast for Christmas’. In the first movement, Christmas Welcome, the scene is set: but the key to a successful Christmas dinner is forward planning and in the second movement the Christmas Pudding is prepared in November, on ‘Stir-up Sunday’. In the third movement, Christmas Eve, the early twentieth century poet Robert Bridges looks back, on a frosty evening, from his own time to the very distant past, and considers what Christmas means to him. Then in the fourth movement, our Christmas Feast is prepared, and the Christmas Grace (fifth movement) is not forgotten. It is of course impolite to sing during the actual Christmas Dinner itself, but towards the end of the meal the peace is rudely interrupted by the sixth movement, Christmas Crackers. The seventh movement, Christmas Spirit, reminds us, in seventeenth-century words, of how we should share our good fortune with those who have need of it, and in the last movement, Christmas Celebration, the audience is invited to join in, with the last verse of the well known ‘We wish you a merry Christmas’ Some separate movements are also available: Christmas Recipe, Festival (Christmas) Grace, and Christmas Celebration. Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a growing reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$3.99
Seven Pieces in Twentieth-Century Styles
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Piano seul
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INTERMÉDIAIRE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and W...
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Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
Coventry Carol for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Noël
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Anon
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Robert Luke Thompson
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Coventry Carol for Orchestra
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Monkspath Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Sc...
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Full Orchestra - Level 3 - SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Score and Parts. 44 pages. Monkspath Music #6079181. Published by Monkspath Music (A0.979772). The Coventry Carol originates from a medieval mystery play entitled The Pageant of the Shearmen and Tailors. The play depicts the Christmas story, from the Annunciation (where the Angel Gabriel appears to Mary), to the Massacre of the Innocents (where King Herod of Judea orders the death of all male infants near Bethlehem under the age of two). It is this tale that the Coventry Carol depicts, taking the form of a lullaby sung by the mothers of the murdered children. As is appropriate, the music is in a minor key – this arrangement uses G minor and D minor as a homage to well-known harmonisations by Thomas Sharp and Henry Walford Davies. It is unknown when the words were first set to music, but a proposed date is 1591, or earlier! Other interesting musical features include the use of a ‘Picardy third’, and ‘false relations’, contributing to the haunting quality of this enduring piece, both in the heart of the English Midlands, and further afield. This arrangement is suitable for all orchestras of beginner-intermediate ability or higher. There is plenty of interest for both experienced players, and for newcomers. The instrumentation is designed to facilitate both a full sound, but also for flexibility, which is often desired by school, youth, and amateur orchestras. For further pieces, view the Monkspath Music catalogue and click here!
$39.99
Rhapsody for Violin and Orchestra
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Orchestre
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Contemporain
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William Grosvenor Neil
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Rhapsody for Violin and Orches
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Full Orchestra - SKU: A0.980587 Composed by William Grosvenor Neil. Contemporary. Score and parts. 110 pages. TheComposerStudio.Com, LLC #4985845. Publi...
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Full Orchestra - SKU: A0.980587 Composed by William Grosvenor Neil. Contemporary. Score and parts. 110 pages. TheComposerStudio.Com, LLC #4985845. Published by TheComposerStudio.Com, LLC (A0.980587). In ancient Greece a rhapsod was a singer of epic poems and bits and pieces of tales strung together making a collage of entertainment. I have, in a like manner, allowed a simple line of melody, first introduced by the violin, to speak a musical tale. The violin, full of the exuberance and energy of youth, threads through the story’s themes and shadow themes, weaving a mosaic of sound through each episode. Shadow themes are melodies that are acoustically derived from one another like shadows. At first these themes perform supportive roles, but as the story moves forward, they gain in the dominance of pitch and dynamic. Sometimes running ahead of passage, making aggressive commentary, and sometimes aligning with the emotional expression of the phrase, the violin shifts between a mere exercise of notes to a noble exploration of broadening lyricism. William Neil Rent Parts: https://www.thecomposerstudio.com/concerto/#tab-16075 More info: thecomposerstudio@gmail.com.
$45.00
Mountain Goats And Other Creatures
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Vessela Stoyanova
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Mountain Goats And Other Creat
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Vessela Stoyanova
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1201464 By Vessela Stoyanova. By Vessela Stoyanova. Folk,Multicultural,World. Score and parts. 89 pages. Vessela St...
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String Orchestra - Level 4 - SKU: A0.1201464 By Vessela Stoyanova. By Vessela Stoyanova. Folk,Multicultural,World. Score and parts. 89 pages. Vessela Stoyanova #798931. Published by Vessela Stoyanova (A0.1201464). “Mountain Goats and Other Creatures†was Commissioned by Rachel Jayson and the Lexington High School Symphony Orchestra.It was inspired by the folk music of my native land of Bulgaria, informed by my experience as a rock musician, reimagined through the lense of my place inside of a community of like-minded artists and musicians, where I have made my real home today. The first movement - Mountain Goats - is a sort of celebration of renewal, promise, and hope. It represents the tenacious will of grass growing through the snow of early spring, the powerful longing for human connection, the warmth of the sun against your skin on a bright chilly day. It carries both the pristine optimism of youth, and the nervous energy of trying something for the first time. The second movement - Samodivi - in contrast is dark, heavy and full of passion and desire. According to Balkan myths, Samodivi are gorgeous nymphs who live in the woods and often seduce men with their beautiful song and dance. They are feared and envied at the same time. The music of the second movement represents the mysterious dark forest at night - lower strings create the moss under your feet, higher strings use extended techniques to simulate the noise of branches clicking the wind, a few soloists represent different creatures - both real and imaginary - scurry through the woods above your head. Then you hear the lone song of a Samodiva in the distance, your heart is beating hard, your steps are leading you straight towards the call against your better judgement. It is the ancient story of fear and desire, of self control and complete abandon. You, the listener, become witness to a wild dance, fire in the woods, snakes in their long blond hairs, slender bodies dressed in white clouds dancing to an imaginary beat.  Then it all ends abruptly and you left to wonder: Was it real? Did I see it? Am I safe?The third and final movement of the piece is based on a popular rhythmic folk dance in Bulgaria called Kopanitsa, while the melody creates a fugue between the different voices of the orchestra. The Kids are the little of the mountain goats - free to frolic high above tree line, above any human traces, as close to the clouds as one can get and still be touching the ground below. They are carefree, daring, and somewhat naive, yet safe under the watchful gaze of their parent. The movements ends in cascading repetitions of a musical motif in 5/8 representing the relentless passing of time or at least our perception of it.
$100.00
Piece for the youth
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Piano seul
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FACILE
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Joseph Haas
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Piece for the youth
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Schott Music - Digital
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SheetMusicPlus
Piano - easy - SKU: S9.Q15813 Seven easy pieces. Composed by Joseph Haas. This edition: Sheet music. Downloadable. Op. 69. Duration 6 minutes. Sc...
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Piano - easy - SKU: S9.Q15813 Seven easy pieces. Composed by Joseph Haas. This edition: Sheet music. Downloadable. Op. 69. Duration 6 minutes. Schott Music - Digital #Q15813. Published by Schott Music - Digital (S9.Q15813).
$11.99
Sparrowhawk Tango. For Youth Orchestra (Standard Arrangement)
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Orchestre
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INTERMÉDIAIRE
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Tango
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Geraldine
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Sparrowhawk Tango. For Youth O
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1300127 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pages. Geraldine (D...
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Full Orchestra - Level 3 - SKU: A0.1300127 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pages. Geraldine (Denny) Green at Oakmountmusic #889869. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1300127). ALL PURCHASES COME WITH SCORE AND PARTSDuration 3 minutes.This short piece was inspired by my many sightings and observations of sparrowhawks in their behaviour,  hunting techniques and how they fly and soar. They appear to “Tango†with their prey. For me the Tango is a passionately agressive dance with no negotiation. If you are a small creature caught by a sparrowhawk there is also no negotiation!There are now 7 different arrangements of this piece available;No.1 – School arrangement; for violins 1, 2 and 3, cello 1 and 2.No.2 – Standard Arrangement; for violins 1 and 2, viola, cello and double bassNo.3 – Youth OrchestraThe instrumentation for the youth orchestra arrangement is as follows:Flutes 1&2, 1 Oboe, Clarinets 1&2 in Bflat, 1 Bass Clarinet in Bflat (to low C), 1 Bassoon, 1 Eflat Alto Saxophone.Trumpets 1&2 in Bflat2 Pedal Timpani, Side Drum, Bongos – 1 set, 1 Conga, 1 Suspended Cymbal (played with soft stick throughout), Maracas, Tambourine, Triangle.Violins 1,2 & 3, Cello 1 & 2No.4 – Flute, violin and pianoNo.5 – Flute, cello and pianoNo.6 – Flute, clarinet (Bflat), violin and pianoNo.7 – Flute, clarinet (Bflat) and pianoNo.8 – Piano Solo.
$40.00
Sparrowhawk Tango. For Youth Orchestra (School Arrangement)
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Orchestre
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INTERMÉDIAIRE
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Tango
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Geraldine
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Sparrowhawk Tango. For Youth O
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1300124 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pages. Geraldine (D...
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Full Orchestra - Level 3 - SKU: A0.1300124 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pages. Geraldine (Denny) Green at Oakmountmusic #889866. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1300124). ALL PURCHASES COME WITH SCORE AND PARTSDuration 3 minutes.This short piece was inspired by my many sightings and observations of sparrowhawks in their behaviour,  hunting techniques and how they fly and soar. They appear to “Tango†with their prey. For me the Tango is a passionately agressive dance with no negotiation. If you are a small creature caught by a sparrowhawk there is also no negotiation!There are now 7 different arrangements of this piece available;No.1 – School arrangement; for violins 1, 2 and 3, cello 1 and 2.No.2 – Standard Arrangement; for violins 1 and 2, viola, cello and double bassNo.3 – Youth OrchestraThe instrumentation for the youth orchestra arrangement is as follows:Flutes 1&2, 1 Oboe, Clarinets 1&2 in Bflat, 1 Bass Clarinet in Bflat (to low C), 1 Bassoon, 1 Eflat Alto Saxophone.Trumpets 1&2 in Bflat2 Pedal Timpani, Side Drum, Bongos – 1 set, 1 Conga, 1 Suspended Cymbal (played with soft stick throughout), Maracas, Tambourine, Triangle.Violins 1,2 & 3, Cello 1 & 2No.4 – Flute, violin and pianoNo.5 – Flute, cello and pianoNo.6 – Flute, clarinet (Bflat), violin and pianoNo.7 – Flute, clarinet (Bflat) and pianoNo.8 – Piano Solo.
$40.00
Never weather-beaten sail (SATB unaccompanied)
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Chorale SATB
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INTERMÉDIAIRE
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Alan Bullard
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Never weather-beaten sail
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Colne Edition / BullardMusic
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.1081761 Composed by Alan Bullard. 20th Century,A Cappella,Sacred. 8 pages. Colne Edition / Bullard...
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Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.1081761 Composed by Alan Bullard. 20th Century,A Cappella,Sacred. 8 pages. Colne Edition / BullardMusic #685886. Published by Colne Edition / BullardMusic (A0.1081761). This peaceful and restrained original setting of Campion’s well-known text is the fourth movement of Bullard’s Four Sacred Songs, but is also available separately here. Suitable for funerals and other occasions where a peaceful anthem is required, and also for concert performance. The YouTube link allows you to hear the music and see the score. (Note: this is different from Bullard’s arrangement of Campion’s original song in The Oxford Book of Flexible Anthems) Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a growing reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$1.99
Sparrowhawk Tango. For Strings (Standard Arrangement)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Tango
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Geraldine
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Sparrowhawk Tango. For Strings
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Geraldine
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1300102 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 26 pages. Ge...
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String Orchestra - Level 3 - SKU: A0.1300102 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 26 pages. Geraldine (Denny) Green at Oakmountmusic #889857. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1300102). ALL PURCHASES COME WITH SCORE AND PARTSDuration 3 minutes.This short piece was inspired by my many sightings and observations of sparrowhawks in their behaviour,  hunting techniques and how they fly and soar. They appear to “Tango†with their prey. For me the Tango is a passionately agressive dance with no negotiation. If you are a small creature caught by a sparrowhawk there is also no negotiation!There are now 7 different arrangements of this piece available;No.1 – School arrangement; for violins 1, 2 and 3, cello 1 and 2.No.2 – Standard Arrangement; for violins 1 and 2, viola, cello and double bassNo.3 – Youth OrchestraThe instrumentation for the youth orchestra arrangement is as follows:Flutes 1&2, 1 Oboe, Clarinets 1&2 in Bflat, 1 Bass Clarinet in Bflat (to low C), 1 Bassoon, 1 Eflat Alto Saxophone.Trumpets 1&2 in Bflat2 Pedal Timpani, Side Drum, Bongos – 1 set, 1 Conga, 1 Suspended Cymbal (played with soft stick throughout), Maracas, Tambourine, Triangle.Violins 1,2 & 3, Cello 1 & 2No.4 – Flute, violin and pianoNo.5 – Flute, cello and pianoNo.6 – Flute, clarinet (Bflat), violin and pianoNo.7 – Flute, clarinet (Bflat) and pianoNo.8 – Piano Solo.
$23.00
Sparrowhawk Tango. For Strings (School Arrangement)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Tango
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Geraldine
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Sparrowhawk Tango. For Strings
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Geraldine
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1300101 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 26 pages. Ge...
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String Orchestra - Level 3 - SKU: A0.1300101 Composed by Geraldine (Denny) Green. 21st Century,Chamber,Children,Classical. Score and Parts. 26 pages. Geraldine (Denny) Green at Oakmountmusic #889856. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1300101). ALL PURCHASES COME WITH SCORE AND PARTSDuration 3 minutes.This short piece was inspired by my many sightings and observations of sparrowhawks in their behaviour,  hunting techniques and how they fly and soar. They appear to “Tango†with their prey. For me the Tango is a passionately agressive dance with no negotiation. If you are a small creature caught by a sparrowhawk there is also no negotiation!There are now 7 different arrangements of this piece available;No.1 – School arrangement; for violins 1, 2 and 3, cello 1 and 2.No.2 – Standard Arrangement; for violins 1 and 2, viola, cello and double bassNo.3 – Youth OrchestraThe instrumentation for the youth orchestra arrangement is as follows:Flutes 1&2, 1 Oboe, Clarinets 1&2 in Bflat, 1 Bass Clarinet in Bflat (to low C), 1 Bassoon, 1 Eflat Alto Saxophone.Trumpets 1&2 in Bflat2 Pedal Timpani, Side Drum, Bongos – 1 set, 1 Conga, 1 Suspended Cymbal (played with soft stick throughout), Maracas, Tambourine, Triangle.Violins 1,2 & 3, Cello 1 & 2No.4 – Flute, violin and pianoNo.5 – Flute, cello and pianoNo.6 – Flute, clarinet (Bflat), violin and pianoNo.7 – Flute, clarinet (Bflat) and pianoNo.8 – Piano Solo.
$23.00
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Piece for the youth
