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67 sheet music found
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51
Entrainment (2009)
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Contemporary
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Guy Bunce
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Entrainment
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Enigma Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - Digital Download SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and part...
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Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - Digital Download SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Enigma Music #4984881. Published by Enigma Music (A0.816703). Entrainment (2009)Written for New Noise​Oboe & PercussionEntrainment is the process by which two oscillating systems, which have different periods when they function independently, assume the same period when interacting. The principle of entrainment is universal, appearing in chemistry, pharmacology, biology, medicine, psychology, sociology, astronomy, architecture to name but a few.This piece explores the entrainment of tempo with two initially diverse tempo structures synchronising after a period of four minutes. At the start of the score the oboe begins at 137 bpm and the percussionist at 63 bpm. Over the course of the four minutes the percussionist speeds up whilst the oboist slows down resulting in the tempi synchronising at four minutes. After four minutes the two instruments begin a discourse in unison (rhythmically, melodically, and dynamically): the musical equivalent of total synchronisation. In the final section of the piece the parts diverge with the percussionist slowing down and the oboe part maintaining its speed.As with many of my pieces, the starting point for Entrainment was an external source, in this case the song Time by Pink Floyd. The rhythmic lines throughout Entrainment are based on the rhythm to the bass line of the first part of Time. This can be clearly seen in the opening in which the oboe part employs this rhythm.Harmonically Entrainment consists of a series of key centres whose period is determined by points within the four minutes where either of the two independent parts briefly synchronise at the semiquaver level with the unit of a second. At each of these points (which become more frequent as the piece progresses), the harmonic centre changes. The harmonic centres relate directly to the chord structure of Pink Floyd's Time: at each point where either part synchronises with seconds the harmonic centre in both parts moves one chord through Time's chord sequence. At 2' 19'' the percussion and oboe part synchronise (albeit briefly) for the first time. This event was used to mark the start of more polytonal harmony as both instruments from this point forward begin their own cycles through the Time chords. Throughout the piece, points of synchronisation are highlighted musically.Performance mp3 recordings that contain a dual click track for the first four minutes of the piece can be obtained by contacting guybunce@hotmail.com. The click track is arranged so that the oboe click is on the left channel and the percussion click is on the right. An alternative click track (track 3) is also provided using a different sound (a beep). The performers should wear the headphone in one ear which corresponds to the track of their part. The dual click track can then be played on a single CD player (or mp3 player) with the output going to both sets of headphones using a headphone splitter or other device. Alternatively, files can be put on either two iPods or Mp3 players. The players will then have to synchronize the beginnings of each track.It is possible to play the piece without the use of the click track(s). If this is the case, performers should use the metronome markings and general layout of the score to aid performance. It is advisable that one player (possibly the oboist) sets the tempo and tempo changes, and the other player follows.It was not always possible to represent accurately the relationship between the two parts in the score. Arrows have been added on the score to show points of synchronisation where the score layout differs.
$7.99
Light, Awaken - flute, alto sax, violin, piano, percussion
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Jennifer Bellor
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Light, Awaken - flute, alto sa
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Bellor
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SheetMusicPlus
Alto Saxophone,Flute,Piano,Suspended Cymbal,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.1244668 Composed by Jennifer Bellor. 21st Century,Cham...
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Alto Saxophone,Flute,Piano,Suspended Cymbal,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.1244668 Composed by Jennifer Bellor. 21st Century,Chamber,Classical,Contemporary. 54 pages. Bellor #839613. Published by Bellor (A0.1244668). Light, Awaken (2022) flute, alto saxophone, violin, percussion (vibraphone and suspended cymbal), pianoComposed by Jennifer Bellor Duration: 9'While composing Light, Awaken, I was inspired by the motion and sound of a robotic arm, which I was introduced to by mechatronic engineers at Haddington Dynamics. I imagined a beautiful, melodic composition that includes the sweeping motion and sound of the robotic arm paired with saxophone multiphonics, flute wind tones, and violin harmonics. When Light, Awaken was premiered, I included a visual element on stage, featuring the robotic arm that inspired the composition. The arm was programmed to play suspended finger cymbals. www.jenniferbellor.com.
$24.99
What do they matter? (for medium-high voice and harp)
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Contemporary
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Nicole Elyse DiPaolo
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What do they matter?
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Nicole Elyse DiPaolo
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SheetMusicPlus
Small Ensemble Harp,Voice - Level 5 - Digital Download SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pag...
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Small Ensemble Harp,Voice - Level 5 - Digital Download SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse DiPaolo #3417119. Published by Nicole Elyse DiPaolo (A0.799604). This short song was composed in 2012 during my doctoral coursework at Indiana University's Jacobs School of Music. It was written for tenor, but given its accessible range (Db4 to G5 in the original key), it would work well for lighter voices in many fachs, including light lyric sopranos, baritones, and mezzos. The text, translated from a poem by Takuboku Ishikawa (1886-1912), is gender-neutral. This would be a great introduction to new music for an undergraduate singer with strong aural skills and a still-light voice (since young dramatics might overpower the harp).If you'd like to talk about commissioning a transposed score, please get in touch! Transposition options will be a bit more limited with the harp than with the piano, but I'm sure we could make something work.Poem text (in English translation, as it appears in the score)Setting sun, Drifting clouds, New moon, Evening twilight, What do they matter to me?Composer biography:Nicole Elyse DiPaolo is a versatile composer, teacher, collaborative pianist, and music theorist currently based in Bloomington, Indiana. Currently a PhD candidate in music theory at Indiana University, she recently completed a doctoral minor in composition, having studied with Claude Baker, Don Freund, P. Q. Phan, and David Schneider. She also holds a B.Mus. from the University of Michigan, where she studied composition with Bright Sheng and piano with Louis Nagel. Nicole's music has been heard across the world: along with numerous performances in the Midwest, her commissioned song settings of Muscogee poet laureate Alexander Posey's texts have been performed at Shorter College (GA) and Lincoln University (PA), and the Smithsonian Institution procured copies of two of these (Nature's Blessings and A Vision) to archive at the National Museum of the American Indian. Additionally, Nicole's viola duo Three Episodes was featured at Ball State University's 40th Annual New Music Festival in February 2010. Her early compositions have been garnering interest as well: music students in Kenya performed several of Nicole's such pieces in May 2013 through a pedagogical project spearheaded by IU faculty member Kimberly Carballo. Nicole's music also received its Mexican premiere in October 2013 with a performance of her Divertimento, written for the International String Quartet of Yucatán. In 2014, Nicole published a set of twenty short pedagogical pieces in uncommon keys, entitled Venturing Beyond, available on SheetMusicPlus. Also a sought-after teacher and adjudicator, Nicole frequently judges regional and divisional MTNA composition competitions at all levels, ranging from elementary to college-level Young Artists, and she also served as the composition department chair at Blue Lake Fine Arts Camp in 2014. For more on Nicole DiPaolo and her varied musical pursuits, visit her website at http://ndipaolo.musicaneo.com !
$5.99
Crossing Jordan: Three Spirituals for flute, piano and cello
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Sacred music
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Maria Thompson Corley
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Maria Thompson Corley
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Crossing Jordan: Three Spiritu
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Maria Thompson Corley
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SheetMusicPlus
Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged...
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Instrumental Duet,Piano Cello,Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1272503 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 31 pages. Maria Thompson Corley #864728. Published by Maria Thompson Corley (A0.1272503). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. The flute/piano/cello version may have been performed, but if so, nobody has mentioned it to me. Please note that the YouTube version uses a clarinet. The flute version is slightly different, to accommodate the difference in range.P.S. I’d love to hear that version, if you have a recording of it.
$30.00
The Fire of Innocence in the Darkness of the World
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Enjott Schneider
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The Fire of Innocence in the D
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Schott Music - Digital
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SheetMusicPlus
Soloists (CtTTBB), men's choir and organ - difficult - Digital Download SKU: S9.Q22589 Symphonic Poem for Solo Singers (CtTTBB), Male Choir and Organ
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Soloists (CtTTBB), men's choir and organ - difficult - Digital Download SKU: S9.Q22589 Symphonic Poem for Solo Singers (CtTTBB), Male Choir and Organ. Composed by Enjott Schneider. This edition: score. Downloadable, Score. Duration 30 minutes. Schott Music - Digital #Q22589. Published by Schott Music - Digital (S9.Q22589). English.William Blake was a highly versatile universal genius – poet, painter, copper engraver and philosopher – who in the face of the rationally based Enlightenment put the worship of ecstasy, energy, intuition and imagination above all reason. He was inspired by a vision of the prophet Ezekiel as a child and went on to construct a creative cosmos consisting of myths, opposing forces and uninhibited psychic painting. Misunderstood by his contemporaries, he only began to be rediscovered at the beginning of the twentieth century, for example by W. B. Yeats, and subsequently also during the 1960s by various figures including the “beat poets†associated with Allen Ginsberg, filmmakers and numerous modern poets. Enjott Schneider.
$29.99
Schubert: Wind Octet D.72 Mvt.I (Complete mvt. - Thompson) based on original fragment) - wind octet
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Classical
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Franz Schubert/Ray Thompson
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Ray Thompson
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Schubert: Wind Octet D.72 Mvt.
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Horn,Oboe - Level 5 - Digital Download SKU: A0.1075056 Composed by Franz Schubert/Ray Thompson. Arranged by Ray Thompson....
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Large Ensemble Bassoon,Clarinet,Horn,Oboe - Level 5 - Digital Download SKU: A0.1075056 Composed by Franz Schubert/Ray Thompson. Arranged by Ray Thompson. Romantic Period. Score and parts. 35 pages. RayThompsonMusic #679326. Published by RayThompsonMusic (A0.1075056). This is an original composition by me, utilising Schubert's fragment and themes from the fragment Written for wind octet:2 ob, 2 cl, 2 hn and 2 bsn. Composed in 1813, and publised in 1889, Schubert's wind octet D72 is incomplete. The minuet and trio, and finale exist, along with a fragment of 100 bars of the first movement. The 2nd slow movement (if there was one) is missing. The fragment seems to show the end of the development, flowing into the recapitulation. I have now completed the movment, with the expostion starting in F, and 2nd theme moduating into the Dominant C major. An optional repeat has been added, the 2nd time bar has a diminshed 7th chord I have created a new deveopment section in D minor, using themes from the fragment , which then leads into the start of the fragment., which leads to the recapitualtion. This has both themes in F and brings the movement to an end The new movement is 232 bars long. Other mvts are available for quintet, octet and dectet/decet. The mp3 is the 2nd theme of the exposition. leading into the development section. I have made some light tweaks to Schubert's original work. It lasts 5 mins 2 seconds without my repeat. (About 7 mins 20 secs with) Check out my other arrangements for wind quartet, wind quintet and wind dectet.
$19.95
Due a due
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Bertold Hummel
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Due a due
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Advance Music GmbH - Digital
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SheetMusicPlus
Percussion (one player: vibraphone, marimba, cymbals, tom-tom, etc.). Advanced soprano saxophone and percussion - difficult - Digital Download SKU: S9.Q54669...
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Percussion (one player: vibraphone, marimba, cymbals, tom-tom, etc.). Advanced soprano saxophone and percussion - difficult - Digital Download SKU: S9.Q54669 Composed by Bertold Hummel. This edition: performance score. Cymbal sound - multiphonic. Downloadable, Performance score. Volume op. 88a. Duration 8 minutes. Advance Music GmbH - Digital #Q54669. Published by Advance Music GmbH - Digital (S9.Q54669). The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone; over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo.
$16.99
Misty Moonlight Waltz (violin part - vln, vla, cel)
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Mark O'Connor
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Misty Moonlight Waltz
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861838 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pag...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861838 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6203563. Published by Mark O'Connor Musik International (A0.861838). Misty Moonlight Waltz (violin part – vln, vla, cel) MO154BViolin Part (score and parts available)Music by Mark O’Connor4 pages - 4:45 minutes in length Misty Moonlight Waltz for violin, viola and cello (1977), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. Misty Moonlight Waltz was initially a fiddle waltz Mark O’Connor composed as a 16-year old in Seattle Washington. He often performed his own waltz in fiddle contests he entered. In 1999 O’Connor arranged it for string trio and later adapted it to the violin, viola and cello combination. O’Connor often performs the piece in his Appalachia Waltz Trio concerts. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorMisty Moonlight Waltz can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO154BCopyright © 1977 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Misty Moonlight Waltz (viola part - vln, vla, cel)
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Mark O'Connor
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Misty Moonlight Waltz
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861839 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 6 pag...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861839 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 6 pages. Mark O'Connor Musik International #6203565. Published by Mark O'Connor Musik International (A0.861839). Misty Moonlight Waltz (viola part – vln, vla, cel) MO154CViola Part (score and parts available)Music by Mark O’Connor2 pages - 4:45 minutes in length Misty Moonlight Waltz for violin, viola and cello (1977), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. Misty Moonlight Waltz was initially a fiddle waltz Mark O’Connor composed as a 16-year old in Seattle Washington. He often performed his own waltz in fiddle contests he entered. In 1999 O’Connor arranged it for string trio and later adapted it to the violin, viola and cello combination. O’Connor often performs the piece in his Appalachia Waltz Trio concerts. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorMisty Moonlight Waltz can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO154CCopyright © 1977 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Misty Moonlight Waltz (score - vln, vla, cel)
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Mark O'Connor
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Misty Moonlight Waltz
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861836 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861836 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6203559. Published by Mark O'Connor Musik International (A0.861836). Misty Moonlight Waltz (score – vln, vla, cel) MO154AScore (parts available)Music by Mark O’Connor8 pages - 4:45 minutes in length Misty Moonlight Waltz for violin, viola and cello (1977), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. Misty Moonlight Waltz was initially a fiddle waltz Mark O’Connor composed as a 16-year old in Seattle Washington. He often performed his own waltz in fiddle contests he entered. In 1999 O’Connor arranged it for string trio and later adapted it to the violin, viola and cello combination. O’Connor often performs the piece in his Appalachia Waltz Trio concerts. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorMisty Moonlight Waltz can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO154ACopyright © 1977 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50
Kaddisch
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Wilfried Hiller
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Kaddisch
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Schott Music - Digital
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SheetMusicPlus
Clarinet, double bass and piano - advanced - Digital Download SKU: S9.Q23803 Composed by Wilfried Hiller. This edition: performance score. Clarinet Libra...
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Clarinet, double bass and piano - advanced - Digital Download SKU: S9.Q23803 Composed by Wilfried Hiller. This edition: performance score. Clarinet Library. Downloadable, Performance score. Duration 8 minutes. Schott Music - Digital #Q23803. Published by Schott Music - Digital (S9.Q23803). 'Kaddish (Aramaic: ’holy’) is the Jewish mourning prayer recited for the dead. My Kaddisch für David Stahl was conceived to honour the memory of the long-serving chief musical director of the Staatstheater am Gärtnerplatz in Munich and begins with a lyrically flowing lament on the clarinet which towards the end rears up in a despairing wail of grief. The piano and double bass punctuate the arching structure of the melody with an aggressive and urgent three-note phrase which should sound as if ’hammered in steel’, symbolising the three syllables ’Da-vid Stahl’. The work culminates with an original Jewish melody for Psalm 119 with the following text: ’Your word is a lamp to my feet, shadows and light reveal the width and depth of the path of my life.’ Wilfried Hiller.
$22.99
Othello Suite, Op. 79 for Brass Choir
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Samuel Coleridge-Taylor
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Richard Decker
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Othello Suite, Op. 79 for Bras
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Charles Decker Music Press
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SheetMusicPlus
Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1132715 Composed by Samuel Coleridge-Taylor. Arra...
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Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1132715 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Contest,Festival,March,Multicultural,World. 110 pages. Charles Decker Music Press #732911. Published by Charles Decker Music Press (A0.1132715). This multi-movement brass choir arrangement adapted from Samuel Coleridge-Taylor's orchestral Othello Suite, Op. 79 provides a technical and musical showpiece to highlight any performance. Four distinctive movements in this Suite include a driving Dance, melancholy Funeral March, languid Willow Song featuring a flugelhorn solo and a rousing Military March to conclude. Every player gets an opportunity to shine and display not only their technical expertise but also their musicianship as well. The work is arranged for a brass choir of four B-trumpets with trumpet I doubling on piccolo B-flat trumpet and flugelhorn, 4 F horns, 3 trombones, euphonium and tuba. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!â€Â  Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$39.99
A Pukwudgie Christmas: A Tale of Mischief, Mayhem and Redemption
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Joseph Davila
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A Pukwudgie Christmas: A Tale
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JaGlo Music
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SheetMusicPlus
Guitar Ensemble - Level 5 - Digital Download SKU: A0.1453659 By Joseph Davila. By Joseph Davila. Christmas,Classical,Contemporary,Holiday,Multicultural,W...
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Guitar Ensemble - Level 5 - Digital Download SKU: A0.1453659 By Joseph Davila. By Joseph Davila. Christmas,Classical,Contemporary,Holiday,Multicultural,World. Score and Parts. 17 pages. JaGlo Music #1032873. Published by JaGlo Music (A0.1453659). This is a guitar quartet Christmas piece that I wrote earlier this year. It is for advanced players and is perfect for Holiday Concerts, Christmas parties or recitals. The theme is based on the legend of the Pukwudgie and is the soundtrack to the story below. © Copyright 2024 JaGlo Music. In the quaint village of Hollybrook, Christmas was a time of joy and togetherness. But this year, a malicious pukwudgie named Bramble planned to spread fear and chaos. On Christmas Eve, as villagers gathered around the grand tree for the annual lighting ceremony, Bramble struck. He made the lights flicker and go out and twisted the ornaments into grotesque shapes. He snuck into homes, swapping sugar for ashes and hiding stockings in unreachable places, casting a dark spell over the village. By morning, Hollybrook was in disarray. Children found their stockings missing, cookies ruined, and the tree ominous in the square. Fear gripped the town. Amidst the chaos, a brave girl named Lucy refused to let fear win. She gathered her friends and ventured into the forest, following eerie footprints. They found Bramble muttering dark incantations under a gnarled tree. Caught in a trap made from holly and mistletoe, Bramble hissed his intentions to spread fear. Lucy, with steely resolve, offered him a chance at redemption. Reluctantly, Bramble agreed. They returned to the village, and with Bramble’s help, dispelled the dark enchantments. The ornaments returned to their beautiful forms, sugar replaced the ashes, and the stockings were found. That night, the tree lit up, and Bramble felt warmth in his heart for the first time. The villagers, initially wary, accepted him as he helped create beautiful ice sculptures, adding magic to the festivities. From that year on, Bramble became part of Hollybrook. His dark nature slowly transformed under the light of friendship and acceptance. Every Christmas, his magic brought extra sparkle to the celebrations, reminding everyone that even the darkest hearts could find redemption through kindness and love.
$12.00
Snowblind
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Joe Duddell
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Snowblind
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Schott Music - Digital
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SheetMusicPlus
Perc (Marimba, Vibraphone (motor off), Crotales, Temple Blocks) - strings (4.3.2.2.1) percussion and strings - difficult - Digital Download SKU: S9.Q6588...
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Perc (Marimba, Vibraphone (motor off), Crotales, Temple Blocks) - strings (4.3.2.2.1) percussion and strings - difficult - Digital Download SKU: S9.Q6588 For solo percussion and strings. Composed by Joe Duddell. This edition: piano reduction with solo part. Downloadable, piano reduction with solo part. Duration 18 minutes. Schott Music - Digital #Q6588. Published by Schott Music - Digital (S9.Q6588). One of three works Duddell has written for percussionist Colin Currie, Snowblind highlights the melodic possibilities when writing for percussion. Throughout its three movements, Duddell takes the performers through a modern day Baroque sound-world with both the use of ritornello sections and focussing on unity between the accompaniment and soloist. Snowblind will stretch post Grade-8 students and is ideal for an exam or audition situation.
$43.99
Canyon Dust
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Becca Stevens Band
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Kerry Marsh
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Canyon Dust
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Kerry Marsh
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SheetMusicPlus
Rhythm Section Voice (SATB) - Level 5 - Digital Download SKU: A0.1350639 By Becca Stevens Band. By Becca Stevens. Arranged by Kerry Marsh. Folk,Jazz,Sing...
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Rhythm Section Voice (SATB) - Level 5 - Digital Download SKU: A0.1350639 By Becca Stevens Band. By Becca Stevens. Arranged by Kerry Marsh. Folk,Jazz,Singer/Songwriter. Vocal Jazz Ensemble. 45 pages. Kerry Marsh #935460. Published by Kerry Marsh (A0.1350639). This arrangement, sold at SheetMusicPlus.com and SheetMusicDirect.com at a much lower price than the standard flat-fee range ($60 to $75), does NOT come with a demo recording or any rehearsal audio aids. Visit KerryMarsh.com and purchase the SkyTracks Mixer MINUS Chart package and receive access to: 1. Arrangement Demo, 2. SkyTracks Mixer access, 3. Vocal Part Tracks, 4. Minus-One Tracks, 5. Rhythm Track, 6. Recording Stems (for those who wish to use their own Digital Audio Workstation)This is an arrangement of Becca Stevens' composition, highlighting the cross-rhythms and unusual harmonies in her writing, and utilizing clapping and other devices to bring out surprising textures. The beautifully-written lyric tells of how a group of sisters were effected by their fathers' departure from the family. An SA soloist is featured, and a free-ish improvisation section keeps the arrangement in the jazz realm.Notated piano and bass, cajon/drum set.
$50.00
Poe's Evening Carousel Ride, based on Edgar Allan Poe's poem, "Evening Star."
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Contemporary
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Grace Joy Reid
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Poe's Evening Carousel Ride, b
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Creating Music Joy
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SheetMusicPlus
Small Ensemble Flute,Keyboard,Voice - Level 5 - Digital Download SKU: A0.1005681 Composed by Grace Joy Reid. 20th Century,Contemporary. Score and parts. ...
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Small Ensemble Flute,Keyboard,Voice - Level 5 - Digital Download SKU: A0.1005681 Composed by Grace Joy Reid. 20th Century,Contemporary. Score and parts. 9 pages. Creating Music Joy #6197023. Published by Creating Music Joy (A0.1005681). My original song, Poe's Christmas Eve Carousel Ride, is a microtonal melody for Celesta and/or Flute/Voice, based on Edgar Allan Poe's Evening Star.I imagined Edgar Allan Poe sitting on one of the carousel horses as it was going around and around. While this was happening, he was looking up at the night sky and thought about how much he liked the evening star better than the moon's light. (The celesta is known for its recognized sound in Tchaikovsky's, The Nutcracker Suite, The Dance of the Sugar Plum Fairy.). I figured out how to put it in a quartal tone key in Finale, thanks to Google. I used quartal tones in the left hand, so it's a blend of a tonal melodic line in an atonal landscape. Edgar Allan Poe had a horrific life. His father abandoned his family when he was young. His mother died when he was a child. After he was adopted, although not legally, he had a falling out with his foster father, who alienated him and didn't let him know that his foster mother was dying. But, he did inform him after she died. Edgar married his cousin, Virginia Clem, who was 13 and he was 26. She died 11 years into their marriage due to tuberculosis. Thus, some writers say that all of his writings have a beautiful woman who died in his stories. He lost all of the women who loved him in his life. When you see his portrait, he has sad eyes, as someone who has suffered much. But, his writing has lived well beyond his lifetime of misery and heartache. My song symbolizes, not only Poe's poem, but his life, as very difficult, yet beautiful. With me poetry has not been a purpose, but a passion. Edgar Allan Poe. Warning: Before purchasing this music, make sure that you know how to use quartal tones in your keyboard.
$7.95
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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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
The Oboe
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James E
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The Oboe
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Sahale Studios
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SheetMusicPlus
Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pa...
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Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pages. Sahale Studios #917904. Published by Sahale Studios (A0.1329920). Once there was an oboist who was a member of a chamber ensemble consisting of flute, oboe, cello, and, piano. The oboist was highly skilled; a virtouoso who could ornament without the slighest effort. They were notorious for doing so.One day during dress rehearsal, the oboist, familiar enough with the music began ornamenting and adding stylistic flourishes, becoming increasingly carried away with their part. It finally reaches a point where the others stop playing and let the oboe go completely overboard with a full cadenza. Not far into the solo, the oboe realizes everyone else has stopped playing and stops themself and the rehearsal continues. However, not much farther along, the oboist becomes carried away in their part again, resulting in the other musicians pausing again as the oboist proceeds into another cadenza passage before realizing the others have stopped again.The rehearsal continues, and they all get further along (due to the oboe simply not playing), but when the oboe plays the melody, the ornaments and finesse return in full display, and finally the piano cuts the oboe off. At the slightest hint of an ornament all the other musicians in the ensmeble join in and cut off the oboe. From this, the oboist sinks into low spirits.The rehearsal continues unabated through the next section, and when the oboist enters, they play their part as written, but the ornamentations begin creeping in again. But rather than admonish the oboist the others instead speed the music up into the recapitulation section and for the remainder of the piece and rehearsal they all go wild with flourishes and ornamentations of their own, bringing the piece to a rollicking and lively conclusion.
$22.99
Nocturne for Left Hand Alone (Opus 9 Number 2)
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Classical
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Stephen R Dalrymple
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edited by Stephen R Dalrymple
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Nocturne for Left Hand Alone
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - Digital Download SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (...
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Instrumental Solo - Level 5 - Digital Download SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Individual part. 14 pages. Stephen R Dalrymple #722236. Published by Stephen R Dalrymple (A0.1121045). Nocturne for Left Hand Alone (Classical Music for Tablet Series) by Alexander Scrià bin (Opus 9 Number 2) Classical Music for Tablet Series ♫ Alexander Nikolayevich Scriabin [1871 – 1915] was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal. He composed almost exclusively for solo piano and for orchestra. [condensed from Wikipedia October 2022] ♫ I was introduced to this piece by my piano teacher, Jenny Wong, after injuring my right arm and needing to rest it. ♫ Nocturne for Left Hand Alone belongs to the earlier period of his work. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Performed by the Editor. Compositions for left hand alone are valuable in developing and testing phrasing in the left hand. The most beautiful tone quality will be elusive if the left hand is weak in technique or phrasing. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
Poem For Carlita (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202197. Published by Mark O'Connor Musik International (A0.861805). Poem For Carlita (viola part – vln, vla, cel) MO142CViola Part (score and parts available)Music by Mark O’Connor6 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used tocalm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142CCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Poem For Carlita (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202181. Published by Mark O'Connor Musik International (A0.861803). Poem For Carlita (violin part – vln, vla, cel) MO142BViolin Part (score and parts available)Music by Mark O’Connor7 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142BCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Poem For Carlita (cello part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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therefore there is no return
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202205. Published by Mark O'Connor Musik International (A0.861806). Poem For Carlita (cello – vln, vla, cel) MO142DCello Part (score and parts available)Music by Mark O’Connor15 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142DCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
You Were Once Darkness
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Robert Myers
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You Were Once Darkness
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WheatMyer Music
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SheetMusicPlus
String Trio - Level 5 - Digital Download SKU: A0.1115501 Composed by Robert Myers. Chamber,Christmas,Classical,Contemporary. 33 pages. WheatMyer Music #7...
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String Trio - Level 5 - Digital Download SKU: A0.1115501 Composed by Robert Myers. Chamber,Christmas,Classical,Contemporary. 33 pages. WheatMyer Music #717270. Published by WheatMyer Music (A0.1115501). You Were Once Darkness is written for advanced string trio being full of extended techniques, cross rhythms, and challenging harmonies. It is well suited for string trio recitals and chamber concerts. The music follows a redemptive arc, a journey from dark to light, from chaos to repose. It’s not meant to be auto-biographical but to be meaningful to anyone who has known the sweetness of overcoming personal brokenness, whether it might be addiction, self-destruction, religious deliverance, or other crisis. It approaches the topic from the perspective of overcoming self. The harmonies, rhythms, and timbres of the piece strive to portray this transition. The age-old metaphors of darkness for ill and light for good are featured characters in the music. In particular, the title refers to a line from the Apostle Paul’s letter to the church in Ephesus, “You were once darkness but now you are light in the Lord. Walk as children of light, for the fruit of the light consists in all goodness, righteousness, and truth.†“You Were Once Darkness†uses the melody from a very familiar Christmas carol but it is highly camouflaged and difficult to distinguish. Although it forms the backbone of the music it also, as our own backbones do, remains mostly unobserved. Clues do peak through the darkness, so to speak, from time to time so the attentive listener may discern the melody by the end. The music sounds edgy and unfamiliar even though it only uses the notes of the C-major scale (all the white keys on the piano). This is achieved using techniques developed by Estonian composer Arvo Pärt which employ rules-based writing, typically using a simple scale over a single major or minor accompanying chord. The concept sounds simple but that does not make it easy to write or to play. The technique produces an interplay of dissonance and consonance that creates a fascinating variation of sound much as a kaleidoscope does with color. Robert Myers S.D.G. wheatmyermusic.com.
$19.99
Partita No. 4 in D Major, BWV 828
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Classical
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Johann Sebastian Bach
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Lydia Consilvio
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Partita No. 4 in D Major, BWV
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Songburd Music
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SheetMusicPlus
Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411059 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroqu...
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Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411059 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 89 pages. Songburd Music #993405. Published by Songburd Music (A0.1411059). Dr. Lydia Consilvio’s arrangement of Johann Sebastian Bach’s keyboard Partita No. 4 in D Major (BWV 828) presents a fresh expression of Bach’s keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvio’s reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or piano—enhancing the phrasing and coloristic possibilities inherent in the music. Consilvio’s distribution of melodic material clearly highlights Bach’s use of voices (usually two or three within a single line) through a conversational woodwind dialogue.Notably, Bach’s keyboard Partita No. 4 is comprised of movements based on Renaissance dance forms—allemande, courante, sarabande, menuet and gigue—each influenced by the step-pattern of that specific dance. These Renaissance dances were typically accompanied by families of like instruments in small ensembles called “consorts;†fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.
$89.99
Partita No. 1 in B-Flat Major, BWV 825
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Classical
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Johann Sebastian Bach
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Lydia Consilvio
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Partita No. 1 in B-Flat Major,
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Songburd Music
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SheetMusicPlus
Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411052 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroqu...
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Woodwind Ensemble Double Reed Quartet - Level 5 - Digital Download SKU: A0.1411052 Composed by Johann Sebastian Bach. Arranged by Lydia Consilvio. Baroque,Classical,Contemporary. 53 pages. Songburd Music #993398. Published by Songburd Music (A0.1411052). Dr. Lydia Consilvio’s arrangement of Johann Sebastian Bach’s keyboard Partita No. 1 in B-Flat Major (BWV 825) presents a fresh expression of Bach’s keyboard suite, giving listeners a new way to hear and appreciate this delightful work. Drawing upon the Bach-Gesellschaft edition, Consilvio’s reimagination for two oboes, English horn, and bassoon stays true to the original keyboard score and thoughtfully contributes to the double reed repertoire.  This adaptation for small wind ensemble naturally creates complementary and flexible dynamics that allow sonorities to emerge in a manner not possible on the harpsichord or piano—enhancing the phrasing and coloristic possibilities inherent in the music. Consilvio’s distribution of melodic material clearly highlights Bach’s use of voices (usually two or three within a single line) through a conversational woodwind dialogue. Notably, Bach’s keyboard Partita No. 1 is comprised of movements based on Renaissance dance forms—allemande, courante, sarabande, menuet and gigue—each influenced by the step-pattern of that specific dance. These Renaissance dances were typically accompanied by families of like instruments in small ensembles called “consorts;†fittingly, the instrumentation of this arrangement captures both the original medium for the dance sets, and the Baroque taste and style of Johann Sebastian Bach.
$59.99
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