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Horn Sonata No. 3 (Complete)
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French horn
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ADVANCED
#
Mike Lyons
#
Horn Sonata No. 3
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Lyons Music Services
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Published by Lyons Music Services (A0.767350). This is my third new sonata for unaccompanied French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$18.00 ≈
¥130.45
Horn Sonata No. 1 (Complete)
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French horn
#
ADVANCED
#
Mike Lyons
#
Horn Sonata No. 1
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Lyons Music Services
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Published by Lyons Music Services (A0.767341). This is a brand new piece composed for French Horn without accompaniment. It has three movements all connected by the opening material of the first movement. I am publishing this piece as separate movements as well as a complete edition. 1st. Movement: The opening movement is marked andante. It opens with a repeated tonic followed by an arpeggiated 1/16th figure with a closing descending scale. These three ideas form the basic musical material for the whole sonata. Throughout the first movement these three ideas are transformed and manipulated, expanded and contracted while maintaining a clear musical structure (basically Ternary form). As with sonata form, the final reprise of the original ideas is transformed by their 'journey'. The style of the music is rather like a Bach partita for solo instrument. The movement takes the player through most of the horn's range, but does not require any extended techniques, so should be handleable by moderately skilled players. 2nd. Movement: This slow movement requires excellent breath control. It uses the repeated not idea from the 1st movement to open, expanding the rhythm to create a rather melancholy pattern. Later, the scalic 1/16th are utilised to link to the Più mosso section where the arpeggio idea (this time descending) helps to create a feeling of wide open space and emptiness. The player is in an empty universe, drifting slowly away as the dynamics become ever quieter until the ending at ppp. 3rd. Movement: This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc. I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still useful to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting horn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly. The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better. This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$18.00 ≈
¥130.45
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Chamber Orchestra
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ADVANCED
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Christian contemporary
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Sacred music
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Mus...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95 ≈
¥188.07
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
#
Christian contemporary
#
Sacred music
#
Carson Cooman
#
Carson Cooman: Symphony No. 3,
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music...
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Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts. The full score and the individual parts are avaialbe as seperate items.
$64.95 ≈
¥470.71
Homage to O'Keeffe for Orchestra
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Orchestra
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ADVANCED
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Sy Brandon
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Homage to O'Keeffe for Orchest
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon...
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Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99 ≈
¥289.82
Jacques Leguerney: String Quartet in D for two violins, viola and cello
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quar
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95 ≈
¥282.28
Sonata No. 3 for Horn and Piano
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French Horn and Piano
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ADVANCED
#
Mike Lyons
#
Sonata No. 3 for Horn and Pian
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Lyons Music Services
#
SheetMusicPlus
French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pag...
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French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pages. Lyons Music Services #6457097. Published by Lyons Music Services (A0.767581). This is my third new sonata for French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$25.00 ≈
¥181.18
Wabi-Sabi (for string quartet) [VLN 2]
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String Quartet: 2 violins, viola, cello
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ADVANCED
#
Contemporary
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Sarah Wallin Huff
#
Wabi-Sabi
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Novel Soundtrax
#
SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800441 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 11 pages. Novel Sound...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800441 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 11 pages. Novel Soundtrax #6357745. Published by Novel Soundtrax (A0.800441). Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. (Leonard Koren in Wabi- Sabi for Artists, Designers, Poets & Philosophers.) The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning. Ideally, every single performance (formal or informal) should be different from the last and contain various elements of surprise to even the performers. It is the composer’s hope that musicians will enjoy the challenge, the individual freedom, and unexpected moments ready to be discovered again and again in Wabi-Sabi, for string quartet.
$3.50 ≈
¥25.37
Wabi-Sabi (for string quartet) [Cello]
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Sarah Wallin Huff
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Wabi-Sabi
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Novel Soundtrax
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800444 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Sound...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800444 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Soundtrax #6357751. Published by Novel Soundtrax (A0.800444). Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. (Leonard Koren in Wabi- Sabi for Artists, Designers, Poets & Philosophers.) The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning. Ideally, every single performance (formal or informal) should be different from the last and contain various elements of surprise to even the performers. It is the composer’s hope that musicians will enjoy the challenge, the individual freedom, and unexpected moments ready to be discovered again and again in Wabi-Sabi, for string quartet.
$3.50 ≈
¥25.37
Wabi-Sabi (for string quartet) [Viola]
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Sarah Wallin Huff
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Wabi-Sabi
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Novel Soundtrax
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800443 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Sound...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800443 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Soundtrax #6357749. Published by Novel Soundtrax (A0.800443). Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. (Leonard Koren in Wabi- Sabi for Artists, Designers, Poets & Philosophers.) The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning. Ideally, every single performance (formal or informal) should be different from the last and contain various elements of surprise to even the performers. It is the composer’s hope that musicians will enjoy the challenge, the individual freedom, and unexpected moments ready to be discovered again and again in Wabi-Sabi, for string quartet.
$3.50 ≈
¥25.37
Wabi-Sabi (for string quartet) [VLN 1]
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Sarah Wallin Huff
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Wabi-Sabi
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Novel Soundtrax
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800440 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Sound...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800440 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 10 pages. Novel Soundtrax #6357743. Published by Novel Soundtrax (A0.800440). Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. (Leonard Koren in Wabi- Sabi for Artists, Designers, Poets & Philosophers.) The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning. Ideally, every single performance (formal or informal) should be different from the last and contain various elements of surprise to even the performers. It is the composer’s hope that musicians will enjoy the challenge, the individual freedom, and unexpected moments ready to be discovered again and again in Wabi-Sabi, for string quartet.
$3.50 ≈
¥25.37
Wabi-Sabi (for string quartet) [SCORE]
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Sarah Wallin Huff
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Wabi-Sabi
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Novel Soundtrax
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800439 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 24 pages. Novel Sound...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.800439 Composed by Sarah Wallin Huff. 20th Century,Contemporary. 24 pages. Novel Soundtrax #6332761. Published by Novel Soundtrax (A0.800439). Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. (Leonard Koren in Wabi- Sabi for Artists, Designers, Poets & Philosophers.) The aesthetic and metaphysical ideals that Japanese wabi-sabi encapsulates include simplicity, naturalness, and an acceptance of reality. This musical work seeks to illustrate the overall nature of wabi-sabi. At both the beginning of movement 1 and the ending of movement 3, notes are thought of as specks of Potentiality that are randomly evolving from or devolving to Nothingness. Movement 2, at the center point of this universal journey, expresses a concerted effort of diverse elements to create structure and meaning. Ideally, every single performance (formal or informal) should be different from the last and contain various elements of surprise to even the performers. It is the composer’s hope that musicians will enjoy the challenge, the individual freedom, and unexpected moments ready to be discovered again and again in Wabi-Sabi, for string quartet.
$13.25 ≈
¥96.03
Mwiche Khumufumie
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Wilson Shitandi
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Mwiche Khumufumie
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Songburd Music
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SheetMusicPlus
Choral Choir,Choral - Level 5 - Digital Download SKU: A0.1347430 Composed by Wilson Shitandi. Folk,Religious,Spiritual,Traditional. 23 pages. Songburd Mu...
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Choral Choir,Choral - Level 5 - Digital Download SKU: A0.1347430 Composed by Wilson Shitandi. Folk,Religious,Spiritual,Traditional. 23 pages. Songburd Music #846653. Published by Songburd Music (A0.1347430). Africa's rich and varied history has been shaped by many factors, and the same could be said for Africa's captivating traditional and indigenous music styles, which in turn have influenced many other genres of music around the world.  With its early beginnings, the traditional music of Africa has walked hand-in-hand with the development of cultures and languages, each with its distinct traditions and dialects that bring a unique flavor to the African folk tunes that are so much a part of the families, clans and communities that form a music heritage within Africa. Nowhere is this more apparent than in the Luhya community in Kenya, where we clearly see the special relationship that exists between the Samia people, and their articulate dialect, and the delightful expression of their sacred folk music and folk music style.  We could even go so far as to say that Samia folk tunes are closely tied to their art, folklore and religious practices, and also to the artistic influences within and without the Luhya community.Notably, what makes African folk music style special is the sense of purpose and meaning that is attributed to the music--through its use in religious practices, ceremonies, and celebrations-- where audience participation is encouraged and even expected.  The techniques and forms of the music, which give this genre a voice of its own, gives us reason to pay close attention to the characteristics that define this music.  We can briefly point out the use of polyrhythmic techniques, percussion, shimmer, improvisational instrumentation, yodeling and syncopated rhythms that comprise African folk music, but none gets our attention more than the call and response of the singers, which shows the close connection between the language (dialect) and the music, all of which involves the singers and the audience in a musical conversation. This arrangement by Wilson Shitandi combines two melodies commonly used in the praise of leaders or deities--depending on the culture--that typically have no specific title, and sometimes derive their name from an instrument or type of dance.  Stylistically, this arrangement successfully weaves two themes together into one, the first being a lively and upbeat expression, and the second being more meditative and contemplative, both of which alternate throughout the music.   Importantly, the text for this chorus was originally written in Swahili, and later rewritten using the Samia dialect, which the composer feels is more fitting to the melody, with words drawn from Christian traditions, which again demonstrates that music and language are indeed closely linked in the folk music of Africa, as it is in this uplifting arrangement of Mwiche Khumufumie (Come Let Us Glorify Him).
$11.99 ≈
¥86.89
The Spear of Destiny
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Violin and Piano
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ADVANCED
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Contemporary
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Jesus J
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The Spear of Destiny
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Jesus Martinez Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and part...
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesus Martinez Music #2019881. Published by Jesus Martinez Music (A0.1030742). PROGRAM NOTES: The Spear of Destiny is titled and inspired by the supposed spear that was used to kill Jesus Christ. The spear is said to have extraordinary powers. He who possesses it will rule the world and he who loses it thereafter will die an untimely death. The last person recorded to have had it was Adolf Hitler. This musical composition journeys through the time of Hitler and his obsession to obtain the spear, his atrocious acts during his tenure of the spear, and the loss of the spear. The spears main thematic motions are the glissandos in the violin that represent the spears anger and tortuous ways. I. Spear Found takes place during his times as an understudy of Dietrich Eckart, a dedicated satanist and figure in the Occult Thule Society and founding member of the Nazi party. Dietrich said: Follow Hitler! He will dance, but it is I who have called the tune! I have initiated him into the Secret Doctrine' opened his centres in vision and given him the means to communicate with the Powers. Do not morn for me; I shall have influenced history more than any other German. Hitler became enamored with the Spear of Destiny, which claimed it called to him. Spear Found, is Hitler's journey to capturing the spear to rule the world. II. Spear Possessed begins with no time meter or key signature. It is ad liberty of the performers and is a musical representation of the spears possessive powers towards evil. This movement takes place during the time of the Holocaust and the actions committed during Hitler's reign of world domination. The movement infers a jewish folk song titled, Dayeinu, a jewish Passover song meaning it would have been enough. This song is set in context of freedom. The movement goes through variations of Dayeinu and the spears version of a possessed Dayeinu. The violin has fast and rapid rhythms with small thematic material of the folk tune. At the end of the movement, the piano strikes the low end of the piano with a soft yarn mallet to symbolize the bombs dropping and the start of World War II. III. Spear Lost takes place during WWII and the Marines efforts to take down Hitler's reign. During the 3rd movement, the Marine Corps music comes to life as they take control of the spear and ultimately end the war. The Spear however, takes its last stand as the spears motif soars over the possessed marine tune. At the end of the movement, the spear is once again screeching as it survives and goes missing once again.
$32.99 ≈
¥239.09
Jesus Loves Me - Bradley Sowash
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Piano solo
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ADVANCED
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Sacred music
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Bradley Sowash
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Bradley Sowash
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Jesus Loves Me - Bradley Sowas
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Bradley Sowash
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SheetMusicPlus
Piano - Level 5 - Digital Download SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Pr...
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Piano - Level 5 - Digital Download SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Praise & Worship,Sacred. Full Performance. Duration 242. Bradley Sowash #834378. Published by Bradley Sowash (A0.1238983). From Bradley Sowash’s “We Gather Together†solo piano recorded album and associated sheet music (also available here).Everyone enjoys this uplifting arrangement.Just because this tune has it roots as a Sunday school song doesn’t mean it has to sound basic in worship. This arrangement begins with a quiet slow gospel waltz that continues into a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending.Learn more about this artist at https://bradleysowash.com.
$1.99 ≈
¥14.42
Symphonie Fantastique for Trombone Octet
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Trombone ensemble
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ADVANCED
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Classical
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Hector Berlioz
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Phil Thrift
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Symphonie Fantastique for Trom
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Phil Thrift
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SheetMusicPlus
Large Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.955720 Composed by Hector Berlioz. Arranged by Phil Thrift. Classical,Romantic Period. ...
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Large Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.955720 Composed by Hector Berlioz. Arranged by Phil Thrift. Classical,Romantic Period. Score and parts. 56 pages. Phil Thrift #5322013. Published by Phil Thrift (A0.955720). This, the trombone octet adaptation of my trombone quartet arrangement of Hector Berlioz’ Symphonie Fantastique, again features all the well-known themes of the full orchestral symphony. The beginning is identical with the original, but then proceeds immediately to the March to the Scaffold of the fourth movement. The famous idée fixe of the symphony is first heard at measure 72, and this is followed by other themes from the first movement. The adagio at measure 164 re-creates the pastoral duet of the symphony’s third movement. As indicated on the charts, the first trombone (alto) should play this section offstage (as for the oboist in the original), while the others remain on stage. If this is not possible, then the first trombone should play this section muted. This very reflective interlude is followed by my personal favorite, the wondrously jolly waltz from the symphony’s second movement. The Witches’ Round Dance, a sort of fugue, comes next, and leads to the dies irae – played in four octaves here, but in this octet version heard together with the Witches’ Round Dance. The idée fixe is stated once again before the arrangement concludes in the same way as the original symphony.This is a light-hearted arrangement that is not intended to re-create exactly the grandeur of the original with its huge orchestral forces. Lasting nearly 9 min, depending on how fast you take some sections, this piece will require some stamina, but with many sections arranged for two, three or four trombones, every player does get a break. The first part requires a very capable alto trombonist with a good high register.Player 1 plays alto throughout, player 2 switches between alto and tenor, and parts 7 and 8 are for bass trombone.Sensible page turns were impossible to incorporate in some of the parts while at the same time not exceeding four pages. So in those parts the players are instructed – during longer breaks – to fetch the next page in good time, which is easily possible if the parts are printed out on separate sheets. Players using tablets won’t have any problems, of course.
$8.99 ≈
¥65.15
Legacy for Chamber Orchestra
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Chamber Orchestra
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ADVANCED
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Pub...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00 ≈
¥289.89
O The Deep, Deep Love of Jesus (Ton-y-Botel) Tune in a Bottle
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Piano solo
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ADVANCED
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Celtic/Irish
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Thomas John Williams
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Renee Hyche McKee
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O The Deep, Deep Love of Jesus
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Renee H. McKee
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.835643 Composed by Thomas John Williams. Arranged by Renee Hyche McKee. Celtic,Contemporary,Easter,Gradua...
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Piano Solo - Level 5 - Digital Download SKU: A0.835643 Composed by Thomas John Williams. Arranged by Renee Hyche McKee. Celtic,Contemporary,Easter,Graduation,Sacred. Score. 4 pages. Renee H. McKee #6168319. Published by Renee H. McKee (A0.835643). Legend has it that this old tune was discovered written on a scrap of paper found in a bottle which washed up on a beach in North Wales around 1900; its Welsh nickname Ton-y-Botel (Tune in a Bottle) comes from this story. The melody is also known as Ebenezer, named for Ebenezer Chapel where the actual composer attended services while writing this tune. Lyrics in sacred and secular contexts alike have been set to this famous melody. This dramatic piece begins with the arranger's original music rising in a theme accompanied by triplets, then moves into the powerful Welsh tune itself which in this creative arrangement is tossed from voice to voice, hand to hand. A strong sense of the love of Jesus rolling as a mighty ocean in its fullness over me as well as a tender confidence in it underneath me, all around me, is the current of thy love are the lingering emotions one feels as the same original music closes the piece with an impression of wonder. Some fingerings are included to facilitate reading but are merely suggestions. Pedaling has been written in, but again, is a suggestion. Because of its history, this music is adaptable to almost any circumstance, secular or sacred, where people gather for meaningful events: civic or military ceremonies, graduations, memorials, weddings, or church services of any denomination.
$4.99 ≈
¥36.16
Anything You Can Do . . . for violin and vibraphone
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Robert M
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Anything You Can Do . . . for
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contempor...
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00 ≈
¥202.92
Horn Sonata - No. 1 - 3rd Movement - Allegro
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French horn
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ADVANCED
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Lyons Music Services
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Horn Sonata - No. 1 - 3rd Move
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Musi...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Music Services #3512417. Published by Lyons Music Services (A0.767342). This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc.I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still usefull to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting hoirn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly.The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better.This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$9.00 ≈
¥65.22
Waltz from Sleeping Beauty, for 2 pianos
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2 Pianos, 4 hands
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ADVANCED
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Classical
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Pyotr Tchaikovsky
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Richard Simm
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Waltz from Sleeping Beauty, fo
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Peri...
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Period. Score. 14 pages. Richard Simm #678551. Published by Richard Simm (A0.1074261). In this well-loved waltz by Tchaikovsky, the composer once again brings life, magic and colour to a famous fairy tale. It is a grand, bright and optimistic item, coming near the beginning of the ballet and before the dramatic conflict with the forces of evil at the heart of the story. As usual, Richard Simm's arrangement for 2 pianos is intended for concert performance by advanced pianists, but the delightful results will certainly repay the practice involved.
$8.95 ≈
¥64.86
Fastnet Rock
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Flute and Piano
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ADVANCED
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Contemporary
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
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SheetMusicPlus
Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168...
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Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
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Introduction, Theme and Variations
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Gioachino Rossini
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Sean Brennan
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Introduction, Theme and Variat
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bl_music
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SheetMusicPlus
Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.842571 Composed by Gioachino Rossini. Arr...
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Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.842571 Composed by Gioachino Rossini. Arranged by Sean Brennan. Classical,Concert,Graduation,Romantic Period. Score and parts. 19 pages. Bl_music #6643225. Published by bl_music (A0.842571). Theme and Variations by G. Rossini, arr. Brennan for Solo Euphonium/Baritone with Piano accompaniment This edition is the theme and variations from Rossini's Introduction, Theme and Variations originally for clarinet and orchestra. This version has been performed and recorded by a number of internationally renowned Euphonium soloists. We first published the complete Introduction, Theme and Variations for Euphonium in 1991 and performed it on a 1830s ophicleide and a 1840s square piano in 1993. This edition comes with a shortened introduction,theme and variations. Duration around 8 ½ min. Solo part in treble and bass clef.Message from Sean Brennan:This arrangement, or more correctly transcription, was first published by us in 1991, although its origins go back much further than that. I do remember being transfixed in the 1970s by Richard Stoltzman’s recording of the original form of the work for clarinet and orchestra. I was convinced it would work for Euphonium and that one day there would be players with the technique, and above all musicality, to bring it off. For me, this vision came true in 1994 when we first performed the piece in Birmingham in 2004, and then again 10 years later when David Thornton and the Black Dyke Band recorded the Theme and Variations. Rossini composed the Introduction, Theme and Variations for clarinet and orchestra in 1810 at the request of a fellow student at the Conservatorio di Bologna. Although the autograph score has been lost, and some musicologists have questioned the authenticity of the work, I find no reason for doubt since Rossini recycled some of the material in later works, and apart from that his evervascent musical personality is abundant from beginning to end.
$18.99 ≈
¥137.62
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