Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
248
Digital
Sheet Music
2,540
Sheet Music
Books
1,209
Music
Equipment
195
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
PDF/Flash
Not classified
359
PIANO & KEYBOARDS
Piano solo
124
Piano, Vocal and Guitar
64
Piano, Voice
47
C Instruments
25
Easy Piano
22
1 Piano, 4 hands
11
Organ
7
Big Note Piano
5
Piano Quartet: piano, violin, viola, cello
3
2 Pianos, 4 hands
2
Piano Quintet: piano, 2 violins, viola, cello
2
Piano (band part)
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
11
Guitar
7
Melody line, (Lyrics) and Chords
6
Piano, Guitar (duet)
3
Guitar (band part)
2
Ukulele
1
2 Dulcimers (duet)
1
2 Guitars (duet)
1
Mandolin
1
Dulcimer
1
Banjo
1
Bass guitar
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
68
Choral 2-part
60
Choral 3-part
37
Choral TTBB
12
Vocal duet
12
Vocal duet, Piano
9
Choral Unison
9
Choral SSAA
5
High voice
3
Alto voice, Piano
2
Tenor voice, Piano
2
Low voice, Piano
1
Soprano voice, Piano
1
Baritone voice, Piano
1
Choral SSATTB
1
Soli, Mixted choir and accompaniment
1
Instrumentations suivantes
Retracter
WOODWIND
2 Saxophones (duet)
167
2 Flutes (duet)
64
2 Clarinets (duet)
59
2 Oboes (duet)
45
2 Recorders (duet)
43
Saxophone, Clarinet (duet)
21
Clarinet, Violin (duet)
21
Clarinet and Piano
15
Clarinet, Trumpet (duet)
13
Saxophone Quartet: 4 saxophones
13
Flute and Piano
13
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
12
Flute, Clarinet (duet)
10
Oboe, Piano (duet)
10
Tenor Saxophone and Piano
10
Clarinet Quartet: 4 clarinets
10
Flute, Violin
9
Flute Quartet: 4 flutes
9
Alto Saxophone and Piano
8
Flute, Viola (duet)
8
Clarinet and Viola
8
Oboe, Bassoon (duet)
7
Flute, Saxophone (duet)
6
Saxophone (band part)
6
Oboe, Clarinet (duet)
6
Flute, Oboe, Clarinet, Bassoon
6
Flute
6
Flute, Trumpet (duet)
6
Oboe, Flute
6
3 Clarinets (trio)
5
Alto Saxophone
5
Saxophone Quintet: 5 Saxophones
4
Tenor Saxophone
4
Flute, Oboe (duet)
3
3 Saxophones (trio)
3
Oboe, Violin (duet)
3
Soprano Saxophone and Piano
3
English horn, Piano
3
Flute, Clarinet, Piano (trio)
2
Flute, Oboe, Piano (trio)
2
Soprano Saxophone
2
Clarinet
2
Flute, trombone and piano
2
Baritone Saxophone, Piano
2
Clarinet Quintet: 5 clarinets
2
Clarinet Ensemble
2
Clarinet, Cello, Piano (trio)
2
Flute, Violin and Violoncello
2
Flute, Clarinet and Bassoon.
2
Flute ensemble
1
Flute Trio: 3 flutes
1
Piccolo, Piano
1
English Horn
1
Recorder Ensemble
1
Descent (Soprano) Recorder, Piano
1
Clarinet (band part)
1
2 Flutes, Piano
1
Saxophone and Harp
1
Recorder Quartet
1
Flute, Violin, Violoncello and Piano
1
Oboe and viola (duet)
1
Oboe, Harp
1
Saxophone ensemble
1
Tenor Recorder
1
Flute, Oboe, Clarinet (trio)
1
Flute and Guitar
1
2 Clarinets, Piano
1
Flute, Cello, Piano (trio)
1
2 Clarinets, Bassoon
1
Flute, Violoncello
1
Flute, Bassoon, and Piano
1
Clarinet, Bassoon (duet)
1
3 Recorders (trio)
1
Clarinet, Cello (duet)
1
5 Recorders
1
Flute, Viola and Piano
1
Oboe, Bassoon and Piano
1
Oboe, Cello
1
Bass Clarinet, Piano
1
Clarinet, trumpet and piano
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
82
2 Trombones (duet)
56
2 Trumpets (duet)
48
Trumpet, Saxophone (duet)
15
Trombone and Piano
15
Trombone (band part)
12
Trumpet, Trombone (duet)
11
Trumpet (band part)
10
2 Euphoniums (duet)
10
Trumpet
9
Brass quartet : 2 trumpets, trombone, tuba
7
Trumpet, Piano
6
Brass Quartet: 2 trumpets, horn, trombone
5
French Horn and Piano
4
Tuba and Piano
3
English horn, Piano
3
Trombone
2
Brass Quartet
2
Brass Quartet: 2 trumpets, 2 trombones
2
Euphonium, Piano (duet)
2
Brass Quartet: 4 trumpets
1
Trombone ensemble
1
2 Trumpets, Keyboard (piano or organ)
1
English Horn
1
Trumpet, Horn (duert)
1
Trombone, Violin (duet)
1
Trumpet, Cello (duet)
1
Trumpet, Harp
1
Brass Quartet: 4 trombones
1
Trumpet, Bassoon (duet)
1
Horn Ensemble
1
2 French horns (duet)
1
Trumpet, violin (duet)
1
Trumpet, Tuba (duet)
1
Instrumentations suivantes
Retracter
STRINGS
2 Violins (duet)
53
2 Cellos (duet)
51
2 Violas (duet)
51
String Quartet: 2 violins, viola, cello
37
Violin and Piano
20
Viola, Piano
15
Violin, Viola (duet)
15
Violin, Cello (duet)
13
Violin
11
String Trio: violin, viola, cello
11
Harp
9
String Trio: 2 violins, cello
9
Cello, Piano
8
Cello
5
String Quintet: 2 violins, viola, cello, bass
4
2 Harps (duet)
3
Violin, Bassoon (duet)
2
Violin, Clarinet, Piano (trio)
1
Harp, Flute (duet)
1
Double bass, Piano (duet)
1
Violin, Tuba (duet)
1
Viola and Bassoon
1
String Trio: 3 violins
1
Violin (band part)
1
Viola
1
String Trio: 2 violins, viola
1
Cello, String Bass (duet)
1
Doublebass (band part)
1
Viola, Cello (duet)
1
String quartet: 4 violins
1
Cello (band part)
1
Harp, Cello (duet)
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
63
Handbells
50
Jazz Ensemble
36
Orchestra
34
Jazz combo
15
String Orchestra
13
Brass ensemble
9
Chamber Orchestra
3
Vibraphone
2
Marching band
2
Xylophone, Piano
1
Percussion Ensemble
1
Brass Quintet: other combinaisons
1
2 Xylophones
1
Drums
1
Drum (band part)
1
Instrumentations suivantes
Retracter
OTHERS
You've selected:
Two For The Road
PDF
Sheetmusic to print
2,540 sheet music found
<
1
26
51
....
2526
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
(+)
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.38 €
#
Paul Wehage
#
Paul Wehage: To You for baritone, tenor saxophone and piano
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Two For The Road
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 4 - Digital Download …
(+)
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 4 - Digital Download SKU: A0.1083633 Composed by Henry Mancini and Leslie Bricusse. Arranged by Uwe Roessler / Rössler / Rassler. Film/TV,Jazz,Pop,Standards,Wedding. Score and parts. 13 pages. Uwe Roessler #687840. Published by Uwe Roessler (A0.1083633). Another Mancini Classic: “Two For The Road†- an all time great! This arrangement follows the form of the original soundtrack (hence the youtube link). Original keys: Starting in C Major, going to G Major. Starts with an optional intro (bars 1-7) from another Mancini version. You can skip this intro, and start the song in bar 8. Form of the song is: (A) theme in violin, (B) theme in cello, (A) theme in violin, (A) first half of the theme in piano, second half joined by tutti. Duration: approx 3.00 min. For Piano Trio / Quartet / Quintet. Minimal instrumentation: violin1, cello, piano. Optional voices for violin2, and bass included. Comes with full score, and complete individual parts. Level: intermediate/advanced. I´ve arranged quite a lot of Mancini songs, as well as other Movie Themes and classic Pop songs for this kind of instrumentation. And I´m working on other Mancini classics, as well. Browse ;-) Have fun with my arrangements!
$20.00
18.28 €
#
Henry Mancini and Leslie Bricusse
#
Two For The Road
#
Uwe Roessler
#
SheetMusicPlus
Too Much For Our Thirst (Trombone and Piano)
Trombone and Piano
Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexa…
(+)
Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99
9.13 €
#
Trombone and Piano
#
Alexander Burdiss
#
Too Much For Our Thirst
#
Ars Nova Press
#
SheetMusicPlus
Folk Songs For Classical Guitar - Volume 24 (Songs 622-648)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Comp…
(+)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 42 pages. Socrates Arvanitakis #761608. Published by Socrates Arvanitakis (A0.1161269). This is the twenty-fourth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment.The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 24 (Songs 622-648)Mummers’ Carol Must I thenMy Bonnie, Bonnie BoyMy Bonny CuckooMy Boy BillyMy Dearie She Sits Ower Late upMy Grandfather’s ClockMy JohnnyMy Johnny was a ShoemakerMy Love’s an ArbutusMy mother did so before meMy Own Pretty BoyMylecharane (Isle of Man) [Vylecharane]Myrtle Tree (the)Nae Bonnie Laddie tae Tak’ Me Awa’Nature CarolNelson’s DeathNever Marry an Old ManNew Year SongNewcastle FairThe New-Fashioned FarmerNight Visit SongNoble Foxhunting (the)Nos Galan (winter)Nottinghamshire Poacher (the)Ny Kirree Fo-SnaighteyO ’Twas in the Broad Atlantic
$25.00
22.86 €
#
Traditional/Anonymous
#
Folk Songs For Classical Guitar - Volume 24
#
Socrates Arvanitakis
#
SheetMusicPlus
Numbered Places [11 pieces for piano solo]
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20…
(+)
Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20th Century, Contemporary Classical, Minimalism, Neo-Classical, Repertoire. Score, Solo Part. 35 pages. Published by Juan Maria Solare
Juan María Solare: Numbered Places (eleven piano pieces) <br> <br> <br> <br> 01 - One Way Flight to... (2:50)<br> <br> 02 - Twopenny Loaf [USA] (3:45)<br> <br> 03 - Three Bridges [UK] (2:25)<br> <br> 04 - Four Oaks [USA] (3:00)<br> <br> 05 - Five Pointz [NYC] (3:45)<br> <br> 06 - Six Mile Bottom [UK] (2:40)<br> <br> 07 - Seven Kings [UK] (5:10)<br> <br> 08 - Eight Streets [USA] (5:55)<br> <br> 09 - Nine Elms [UK] (2:50)<br> <br> 10 - Ten Ten Road [NC, USA] (3:25)<br> <br> 11 - Eleven Lands [UK] (3:30)<br> <br> <br> <br> Totaltime: 39:15<br> <br> Numbered Places * piano * music by Juan María Solare<br> <br> <br> <br> The cycle Numbered Places startsfrom a simple idea: the piece nr. 1 would have a title that begins with theword One, the piece nr. 2 a titlethat begins with the word Two and soon up to an arbitrary number (in this case, eleven).<br> <br> <br> <br> For everything to have more cohesion, English names of different places orregions in either USA or (mainly) UK were used.<br> <br> <br> <br> In its own way, Numbered Placesis therefore a conceptual album - alreadyfrom the point of view of titles.<br> <br> <br> <br> Also musically, this world of sound has cohesion: instrumental piano music,neoclassical aesthetics (a somewhat broad concept that encompasses composerssuch as Erik Satie or Ludovico Einaudi), a certain simplicity in its surface.<br> <br> <br> <br> Let us briefly comment each of the titles:<br> <br> <br> <br> - One WayFlight to ...: The imaginary journey starts here. Each person will completethe sentence with the destiny of their choice.<br> <br> - TwopennyLoaf: This is a neighborhood (and geographically a cape) in the city ofGloucester, Essex County, Massachusetts, USA. It is believed to have gotten itsname because it is shaped like a (bread) loaf that at the time cost twopennies.<br> <br> - ThreeBridges: It is a city somewhere between London and Brighton, and a nodalpoint where trains typically split. Musically, the most minimalistic of all thecycle.<br> <br> - Four Oaks:There are numerous places so named, both in England and the US, and possibly inother countries. I can imagine that there were actually four oak trees planted near.<br> <br> - FivePointz: Neighborhood in Queens, New York. A graffiti mecca that wasdemolished in 2014 to build expensive buildings. And yes, it is spelled with zin this case.<br> <br> - Six MileBottom: Is a hamlet near Cambridge in England. The hamlet derives its namefrom its distance from the start of Newmarket Racecourse and because it lies ina valley bottom. There is no public transport. The old train station, closed in1967 for lack of use, is now a private residence.<br> <br> - SevenKings: It is a neighborhood in Ilford, East London. The earliest recordeduse of the name is as Sevekyngg or Sevekyngges in 1285, possibly meaning'settlement of the family or followers of a man called Seofoca'<br> <br> - EightStreets: it is a (very sought-after) neighborhood located in the heart ofthe historic South End of the city of Boston, Massachusetts, USA.<br> <br> - Nine Elms:a district of South West London. Nine Elms Lane was named around the year 1645,from a row of elm trees bordering the road.<br> <br> - Ten TenRoad: it is a place -actually the main road- in the town of Apex, NorthCarolina, USA.<br> <br> - ElevenLands: this place is mentioned in an old legal report from around 1782 asexisting in North London ("a place called Eleven Lands, containing fiveacres of arable, formerly Cosby's, beonging to a farm in the said parish ofBletcheley...", in " Acollection of the Reports of Cases, the Statutes, and Ecclesiastical Laws,relating to Tithes", volume 3). It has certainly changed its name.Musically, this last piece has a certain tango aura.<br> <br> <br> <br> <br> <br> Why eleven pieces and not more? The truth is that - incredibly as it mayseem - I didn't find any place called "Twelve" something. Yes thereare such names in other languages, but I wanted to keep some consistency. Thereare also pubs or bars called Twelvewhatever, but since they are not sponsoring my music, I had no motivation togive them free advertising at the moment.<br> <br> <br> <br> This album was released in early 2020 on Spotify, iTunes and allother online platforms through the label BlissRecordings in London (part of frtyfve).Find your favorite service here: https://frtyfve.lnk.to/NPVol1<br> <br> <br> <br> There are alsovideos of several pieces of this album. They are in the following playlist:<br> <br> https://www.youtube.com/playlist?list=PL70vQeCRYmkp3vEdIkdnjJyiU1aZ_u7HA
$11.00
10.06 €
#
Piano solo
#
Juan María Solare
#
Numbered Places [11 pieces for piano solo]
#
Juan Maria Solare
#
SheetMusicPlus
Roll it on Down the Highway (Ahio & Cast) from "The Kings - ACT 2:Song 3
Low voice, Piano
Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784829 Composed by McCor…
(+)
Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784829 Composed by McCorkle, Dennis F. Broadway,Christian,Gospel,Musical/Show,Rock. 23 pages. DF McCorkle Music and eBook Publications #11749. Published by DF McCorkle Music and eBook Publications (A0.784829). ACT TWO: Song 3. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Chronicles 13:1-3 - And David consulted with the captains of thousands and of hundreds, even with every leader. 2 And David said unto all the assembly of Israel: ‘If it seem good to you, and if it be of Yahweh our God, let us send abroad everywhere unto our brethren that are left in all the land of Israel, and with them to the priests and Levites that are in their cities that have open land about them, that they may gather themselves unto us; 3 and let us bring back the ark of our God to us; for we sought not unto it in the days of Saul.’] [1 Chronicles 13:7-10 - And they set the ark of God upon a new cart, and brought it out of the house of Abinadab; and Uzza and Ahio drove the cart. 8 And David and all Israel played before God with all their might; even with songs, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets. 9 And when they came unto the threshing-floor of Chidon, Uzza put forth his hand to hold the ark; for the oxen stumbled. 10 And the anger of Yahweh was kindled against Uzza, and He smote him, because he put forth his hand to the ark; and there he died before God.] Realizing the need for a central capital from which to govern, DAVID and the united clans capture the fortress of Zion in Jerusalem. Concerned about the people and solidifying the position, DAVID assembles the commanders and leaders of the people to discuss the possibility of relocating the Ark of the Covenant from the house of Abinadab in Kiriath-jearim, where it had been stored for seventy years, to Jerusalem. DAVID orders a new cart be made for its transport, disregarding the directives from God that only permitted the Levites to move the Ark and only carried with the poles on their shoulders [Role it on Down the Highway – Ahio and David’s Troops]. When the Ark reaches the threshing-floor at Nacon, the oxen stumble and Uzzah puts his hand out to steady it and is instantly killed. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
2.73 €
#
Low voice, Piano
#
McCorkle, Dennis F
#
Roll it on Down the Highway
#
DF McCorkle Music and eBook Publications
#
SheetMusicPlus
I Can See (Andorra, the Witch of Andor, King Saul & Samuel) from "The Kings"
Alto voice, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCor…
(+)
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11767. Published by DF McCorkle Music and eBook Publications (A0.784838). CUT FROM SHOW: I Can See. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 28:7-18 - Then said Saul unto his servants, Seek me a woman that hath a familiar spirit, that I may go to her, and inquire of her. And his servants said to him, Behold, there is a woman that hath a familiar spirit at Endor. And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit, and bring me him up, whom I shall name unto thee. And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die? And Saul sware to her by Yahweh, saying, As Yahweh liveth, there shall no punishment happen to thee for this thing. Then said the woman, Whom shall I bring up unto thee? And he said, Bring me up Samuel. And when the woman saw Samuel, she cried with a loud voice: and the woman spake to Saul, saying, Why hast thou deceived me? for thou art Saul. And the king said unto her, Be not afraid: for what sawest thou? And the woman said unto Saul, I saw gods ascending out of the earth. And he said unto her, What form is he of? And she said, An old man cometh up; and he is covered with a mantle. And Saul perceived that it was Samuel, and he stooped with his face to the ground, and bowed himself. And Samuel said to Saul, Why hast thou disquieted me, to bring me up? And Saul answered, I am sore distressed; for the Philistines make war against me, and God is departed from me, and answereth me no more, neither by prophets, nor by dreams: therefore I have called thee, that thou mayest make known unto me what I shall do. Then said Samuel, Wherefore then dost thou ask of me, seeing Yahweh is departed from thee, and is become thine enemy? And Yahweh hath done to him, as he spake by me: for Yahweh hath rent the kingdom out of thine hand, and given it to thy neighbor, even to David: Because thou obeyedst not the voice of Yahweh, nor executedst his fierce wrath upon Amalek, therefore hath Yahweh done this thing unto thee this day. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
2.73 €
#
Alto voice, Piano
#
McCorkle, Dennis F
#
I Can See
#
DF McCorkle Music and eBook Publications
#
SheetMusicPlus
Folk Songs For Classical Guitar - Volume 28 (Songs 730-756)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1163719 Comp…
(+)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1163719 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 45 pages. Socrates Arvanitakis #764065. Published by Socrates Arvanitakis (A0.1163719). This is the twenty-eighth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 28 (Songs 730-756)Red River Valley (the)Rejoice and be MerryReynard The FoxRiddlesRiding Down to PortsmouthRio GrandeRise up ShepherdRise up, Shepherd, an’ FollerRoad to the IslesRobbie Tamson’s SmiddieRobin HoodRobin-a-ThrushRock-a-bye BabyRoll! Roll, AlabamaRolling Deep (the)RorateRosebud in JuneRosemary LaneRosetta and her Gay PloughboyRout it is come for the Blues (the)Roving JackRoy’s Wife of AldivallochRoyal ProclamationRun Run, BoysSacramentoSad Song (the)Sailor’s Life (A).
$25.00
22.86 €
#
Traditional/Anonymous
#
Folk Songs For Classical Guitar - Volume 28
#
Socrates Arvanitakis
#
SheetMusicPlus
Folk Songs For Classical Guitar - Volume 11 (Songs 271-297)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152811 Comp…
(+)
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1152811 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 40 pages. Socrates Arvanitakis #753050. Published by Socrates Arvanitakis (A0.1152811). This is the eleventh volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 11 (Songs 271-297)Earl Brand (The Dragoon and the Lady 1)Earl of Mar’s Daughter (the)East VirginiaEdwardEileen AroonElsie MarleyEnniskillen Dragoon (the)Erie Canal (the)Eriskay Love LiltEssex May Day CarolEternal LifeExcellent Gift (the)Eynsham Poaching Song (the)Fair Flower of Northumberland (the)Fair lady pity meFair Maid of Wickham 1 (Gently Johnny my Jingalo)Fair Maid of Wickham 2 (Gently Johnny my Jingalo)Faithful EmmaFaithful JohnnyFalse Bride (the)False Knight on the Road (the)Famous Flower of Serving Men (the)Fare ye well, Lovely NancyFarewell Earthly GloryFarewell HeFarewell My Joy and HeartFarewell my own true love.
$25.00
22.86 €
#
Traditional/Anonymous
#
Folk Songs For Classical Guitar - Volume 11
#
Socrates Arvanitakis
#
SheetMusicPlus
The End Of The World
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur…
(+)
Piano Solo - Level 4 - Digital Download SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Rock,Standards. Score. 6 pages. Timothy Stapay #799031. Published by Timothy Stapay (A0.1200229). An arrangement of The End Of The World, a song covered by many famous artists. includingThe Carpenters; thanks to the phenomenal singing of Karen Carpenter. The End of the World was written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team.The Carpenters (officially known as Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (born 1946). They produced a distinctive soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging, and composition skills. During their 14-year career, the Carpenters recorded 10 albums along with many singles and several television specials. Karen possessed a powerful singing voice, and close miking brought out many nuances in her performances. Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range. Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals.[6] By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Record executive Mike Curb said it was Karen's voice that took the Carpenters above straight pop music into pop rock.  She was known as a one take wonder and could deliver a strong performance on the first attempt.Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called him one of the most gifted arrangers to emerge in popular music. The duo's smooth harmonies were not in step with contemporary music, which was dominated by heavy rock. Instead, the Carpenters strove for a rich and melodic sound, along the same vein as the Beach Boys and the Mamas & the Papas, but with greater fullness and orchestration including frequent use of small string and horn sections and introspective lyrics centred around relationships. Richard also admired the musicianship and arranging skills of Frank Zappa, and the two briefly met backstage at the Billboard Forum in 1975.End Of The World: Lyrics:Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world?'Cause you don't love me any moreWhy do the birds go on singing?Why do the stars glow above?Don't they know it's the end of the world?It ended when I lost your love[Bridge]I wake up in the morning and I wonderWhy everything's the same as it wasI can't understand, no, I can't understandHow life goes on the way it doesWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you said goodbyeWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you
$6.99
6.39 €
#
Piano solo
#
Skeeter Davis
#
The End Of The World
#
Timothy Stapay
#
SheetMusicPlus
Jacques Leguerney: String Quartet in D for two violins, viola and cello
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.5…
(+)
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
35.61 €
#
String Quartet: 2 violins, viola, cello
#
Jacques Leguerney
#
II. Intermezzo
#
Jacques Leguerney: String Quartet in D for two violins, viola and cello
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Two For The Road
Organ
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.497817 Comp…
(+)
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.497817 Composed by Henry Mancini. This edition: scorch. E-Z Play Today. Film/TV,Jazz,Pop. Score. 3 pages. Published by Hal Leonard - Digital (HX.497817). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
2.73 €
#
Organ
#
Henry Mancini
#
Two For The Road
#
Hal Leonard - Digital
#
SheetMusicPlus
The Road to New Andreas
Tuba and Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Tuba - Level 5 - Digital Download SKU: …
(+)
Instrumental Duet,Piano Instrumental Duet,Piano,Tuba - Level 5 - Digital Download SKU: A0.1033938 Composed by Nick Adkins. Classical,Contemporary. Score and parts. 56 pages. Nicholas Adkins #639254. Published by Nicholas Adkins (A0.1033938). The Road to New Andreas is the second piece in a narrative cycle of 3 pieces written for tuba as the main instrument. Unlike the piece that comes beforehand, this work is for two tubas and piano. Once the member of the caravan gets out of the mountain, he sees their destination ahead of them: the last city on Earth. He sees his caravan coming out of the mountain pass, and he runs to them, excited to see them. To get to the city, they must journey along a long and dangerous road to the city, which runs right through a gigantic forest that separates the mountain pass and the city. They have heard rumors of a giant monster that lives in the forest, but that he doesn't attack people on the road. I guess they will find out whether the rumor is true...
$12.00
10.97 €
#
Tuba and Piano
#
Nick Adkins
#
The Road to New Andreas
#
Nicholas Adkins
#
SheetMusicPlus
Sullivan: The Lost Chord for Oboe & Piano
Oboe, Piano (duet)
Oboe,Piano - Level 4 - Digital Download SKU: A0.549448 Composed by Sir Arthur Seymo…
(+)
Oboe,Piano - Level 4 - Digital Download SKU: A0.549448 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497149. Published by jmsgu3 (A0.549448). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Requires sensitivity & dynamic control.Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$26.95
24.64 €
#
Oboe, Piano (duet)
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Oboe & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for French Horn & Piano
French Horn and Piano
French Horn,Piano - Level 4 - Digital Download SKU: A0.549460 Composed by Sir Arthu…
(+)
French Horn,Piano - Level 4 - Digital Download SKU: A0.549460 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497289. Published by jmsgu3 (A0.549460). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
French Horn and Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for French Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Cello & Piano
Cello, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.549440 Composed by Sir Arthur Seym…
(+)
Cello,Piano - Level 3 - Digital Download SKU: A0.549440 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494673. Published by jmsgu3 (A0.549440). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
24.64 €
#
Cello, Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Cello & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Alto Clarinet & Piano
Clarinet
E-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.549450 Composed by Sir A…
(+)
E-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.549450 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497161. Published by jmsgu3 (A0.549450). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Clarinet
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Alto Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Clarinet & Piano
Clarinet and Piano
B-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.549444 Composed by Sir A…
(+)
B-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.549444 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3494745. Published by jmsgu3 (A0.549444). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Clarinet and Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Euphonium & Piano
Euphonium, Piano (duet)
Euphonium,Piano - Level 4 - Digital Download SKU: A0.549459 Composed by Sir Arthur …
(+)
Euphonium,Piano - Level 4 - Digital Download SKU: A0.549459 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497273. Published by jmsgu3 (A0.549459). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
24.64 €
#
Euphonium, Piano (duet)
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Euphonium & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Bass Clarinet & Piano
Bass Clarinet, Piano
Bass Clarinet,Piano - Level 4 - Digital Download SKU: A0.549451 Composed by Sir Art…
(+)
Bass Clarinet,Piano - Level 4 - Digital Download SKU: A0.549451 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497171. Published by jmsgu3 (A0.549451). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Bass Clarinet, Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Trombone & Piano
Trombone and Piano
Piano,Trombone - Level 4 - Digital Download SKU: A0.549458 Composed by Sir Arthur S…
(+)
Piano,Trombone - Level 4 - Digital Download SKU: A0.549458 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497267. Published by jmsgu3 (A0.549458). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Trombone and Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Trombone & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Trumpet & Piano
Trumpet
B-Flat Trumpet,Piano - Level 4 - Digital Download SKU: A0.549457 Composed by Sir Ar…
(+)
B-Flat Trumpet,Piano - Level 4 - Digital Download SKU: A0.549457 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497259. Published by jmsgu3 (A0.549457). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Trumpet
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Trumpet & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 4 - Digital Download SKU: A0.549456 Composed by Sir Arthur Seym…
(+)
Flute,Piano - Level 4 - Digital Download SKU: A0.549456 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497233. Published by jmsgu3 (A0.549456). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs.  School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
Flute and Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for English Horn & Piano
English horn, Piano
English Horn,Piano - Level 4 - Digital Download SKU: A0.549455 Composed by Sir Arth…
(+)
English Horn,Piano - Level 4 - Digital Download SKU: A0.549455 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497229. Published by jmsgu3 (A0.549455). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â
$26.95
24.64 €
#
English horn, Piano
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for English Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Sullivan: The Lost Chord for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 4 - Digital Download SKU: A0.552854 Compos…
(+)
Baritone Horn TC,Euphonium,Piano - Level 4 - Digital Download SKU: A0.552854 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497277. Published by jmsgu3 (A0.552854). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
24.64 €
#
Sir Arthur Seymour Sullivan
#
dynamic control
#
Sullivan: The Lost Chord for Baritone Horn & Piano
#
jmsgu3
#
SheetMusicPlus
<
1
26
51
....
2526
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version