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You've selected:
Professor M
Sheetmusic to print
33 sheet music found
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1
26
Professor M & M's Jive Detector (Bb leadsheet, with tenor sax & piano melody)
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Blues
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Jazz
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Mark S
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Professor M & M's Jive Detecto
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Geofonica Artistworks
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SheetMusicPlus
Small Ensemble Clarinet,Soprano Saxophone,Tenor Saxophone,Trumpet - Level 4 - Digital Download SKU: A0.948696 Composed by Mark S. Massey. Blues,Jazz. Sco...
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Small Ensemble Clarinet,Soprano Saxophone,Tenor Saxophone,Trumpet - Level 4 - Digital Download SKU: A0.948696 Composed by Mark S. Massey. Blues,Jazz. Score and parts. 3 pages. Geofonica Artistworks #6038041. Published by Geofonica Artistworks (A0.948696). Professor M & M's Jive Detector is a super cool, very bluesy instrumental jazz hit (in Bb lead-sheet format here, for tenor sax or other Bb instruments.) from pianist Mark Massey's breakthrough jazz LP: API: Acoustic Piano International. The piano and tenor sax interact, with sax and piano doubling the main melody (performed by guest saxophonist Plas Johnson--famed Wrecking Crew sax/woodwind player who was featured on The Pink Panther Theme), plus sax and piano in blues interplay and counterpoint. It's a great vehicle for musical interplay, blues/jazz improvisation, and laid-back bluesy rhythm section grooves. The API track featured Plas Johnson on sax backed by the Mark Massey trio, with Eric Stiller on acoustic bass and Aldo Bentivegna on drums.ABOUT MARK:In 2018, the California State Assembly and the Los Angeles County Board of Supervisors issued proclamations recognizing Mark Massey as a Jazz Living Legend. Jazz pianist-composer Mark Massey was born and raised in Lynwood, California, where he showed early talent on piano, trombone, and drums. During high school, he studied classical piano and played in the bands Synopsis (with future trumpet giant Wayne Bergeron), and Sabor (with Poncho Sanchez and the Banda Brothers). Mark played in the Pico Rivera Stage Band, which won First Place at the Hollywood Bowl Battle of the Bands. Mark graduated from California State University, Long Beach (with Bachelors and Masters degrees in Music), where he was recipient of the Carmen Dragon Fellowship for composition and he was dubbed A Young Giant by the National Association Of Jazz Educators. Mark has performed throughout the U.S., Europe, the former Soviet Union (in the 1980s), Russia (2001), the Far East and India. He has worked with Larry Carlton, David Benoit, Paul Horn, Hubert Laws, Louie Bellson, the Side Street Strutters, Phil Upchurch, L. Subramaniam, Freddie Hubbard, Maynard Ferguson, Yehudi Menuhin, Stéphane Grappelli, and Tony Williams. Mark was featured in The Four Pianos In Concert series along with pianists Paul Smith, Pete Jolly and Steve Allen. Mark Massey's debut CD, Acoustic Piano International, has received wide airplay on jazz radio. API featured nine of Mark's original jazz compositions--including Professor M&M's Jive Detector, offered here--inspired by his musical excursions around the globe, along with Eric Stiller (bass) and Aldo Bentivegna (drums), and guest artists Alex Acuña, percussion (Weather Report), Justo Almario, flute (Mongo Santamaria), Plas Johnson, tenor sax (The Pink Panther Theme), Bob Mintzer, soprano sax (The Yellow Jackets), and Ron Stout, flugelhorn, More recently, Mark has been recording his iconic Jazz Thoughts for the Day albums of original jazz improvisional compositions for each day of the year. Jazz Thoughts for the months of January through July have thus far been issued. COMMENTS FROM MAJOR CRITIC REVIEWS OF MARK MASSEY: Mark Massey is awfully good. His friendly, lyrical, melodic piano has a sound unto itself, API Coverbop and post-bop influenced, contemporarily informed, and languishing solidly in the modern mainstream. ...This is a very good trio that is together in many aspects of jazz expressionism. In larger, more interactive settings, Massey proves he has ideas that work well. ...Massey's talent being exposed is a breakthrough. A majority of jazz listeners should find this a worthwhile purchase, and a keeper. Recommended.----MICHAEL G. NASTOS, ALL MUSIC GUIDE (CD review of Acoustic Piano International) Mark Massey is an excellent straight-ahead pianist who often appears in the L.A. area. ...his playing is consistently appealing. Of the trio numbers, the often-introspective Flowers For Dorothy, the.
$3.99
6-Song Frank M. Davis Polka Collection - for “Hungry Five” Polka Band
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Frank M
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Aaron Hettinga
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6-Song Frank M. Davis Polka Co
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Aaron Hettinga
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SheetMusicPlus
Clarinet,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1371643 Composed by Frank M. Davis. Arranged by Aaron Hettinga. 19th Century,Chamber,...
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Clarinet,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1371643 Composed by Frank M. Davis. Arranged by Aaron Hettinga. 19th Century,Chamber,Classical,Folk,Multicultural,World. 29 pages. Aaron Hettinga #955893. Published by Aaron Hettinga (A0.1371643). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s “Hungry Five†polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players. The “Blue Bird’s Call†Polka (originally published in 1876) contains onomatopoeic chirps in the clarinet parts that make for a light and fun addition to any program. “Good Enough†Polka (originally published in 1874) is an example of Davis’ standard composition form used throughout most of this collection. “Harvest Home†Waltz (originally published in 1873) adds a pleasant waltz to the collection. Its melody is first presented simply,then embellishments are added as the piece continues. Davis’ aptly-titled “Jolly Friend†Polka (originally published in 1874) is a jovial tune with a bouncy melody that moves the clarinetists nimbly around a bit! “Lake-Side†Polka (originally published in 1874) has more participation in the Trumpet and Trombone parts than are found in much of the rest of this collection. “Nimble Toe†Polka (originally published in 1874) passes the melodic and accompaniment elements around the ensemble for a bit of variety for the players. This downloadable PDF package contains a set of full scores and a set of folio-sized parts (2 songs per page) that are ready to go for your German band's Oktoberfest OomPah gig!Also available individually as linked above.
$34.99
Método - Curso de Teclado Primeiros Toques - Volume 2 - Sérgio Cunha
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Instructional
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Sérgio Matias da Cunha
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Sérgio Matias da Cunha
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Método - Curso de Teclado Pri
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Sérgio Matias da Cunha
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SheetMusicPlus
C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 1 - Digital Download SKU: A0.1314021 By Sérgio Matias da C...
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C Instrument,Digital Keyboard,Electronic Keyboard,Harmonium,Harpsichord,Organ,Piano - Level 1 - Digital Download SKU: A0.1314021 By Sérgio Matias da Cunha. By Sérgio Matias da Cunha. Arranged by Sérgio Matias da Cunha. Instructional. Educational Method. 108 pages. Sérgio Matias da Cunha #902748. Published by Sérgio Matias da Cunha (A0.1314021). Integrando a coleção de quatro volumes, no volume 2 (com 108 páginas), após responder um questionário de revisão, as músicas folclóricas ganharão um novo acompanhamento, desenvolvido através do reconhecimento das notas dos acordes e de sua distribuição dentro de um determinado movimento rÃtmico da mão esquerda. Neste segundo nÃvel, denominado 12 músicas folclóricas - nÃvel 2, serão apresentados 12 padrões rÃtmicos para o acompanhamento com a mão esquerda de cada melodia, um padrão rÃtmico para cada música folclórica, a serem distribuÃdos no pentagrama da clave de FA pelo próprio aluno, que no final deste estudo contará com um gabarito para eventuais correções.  Teremos também jogos musicais;  25 temas didáticos -seção (a) ;  10 estudos progressivos e  25 temas didáticos - seção (b) que trazem várias informações teóricas junto à s partituras, como explicações sobre figuras rÃtmicas, execução das notas, velocidade, grafia, abreviações, sinais de repetição, alterações ascendentes e descendentes das notas naturais, entre outros conceitos que visam embasar o estudante para um pleno crescimento prático e teórico. Algumas músicas do volume 3 poderão ser escolhidas pelo professor para serem tocadas pelo aluno paralelamente enquanto estuda o volume 2. Encontre várias partituras colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques†no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).
$18.00
Johanna Müller-Hermann - Drei Lieder for voice and piano, Op. 19
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Johanna Muller-hermann
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Music for a While
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Sehnsuch
2.
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Johanna Müller-Hermann - Drei
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Music for a While
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SheetMusicPlus
Small Ensemble High Voice,Piano Accompaniment - Digital Download SKU: A0.914186 Composed by Johanna Muller-hermann. Arranged by Music for a While. 20th C...
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Small Ensemble High Voice,Piano Accompaniment - Digital Download SKU: A0.914186 Composed by Johanna Muller-hermann. Arranged by Music for a While. 20th Century,Romantic Period. Score and parts. 9 pages. Music for a While #6593767. Published by Music for a While (A0.914186). Drei Lieder for high voice and piano, Op. 19texts by Ricarda Huch (1864-1947) 1. Sehnsuch2. Liebesreim3. GeheimnisJohanna Müller-Hermann (1868-1941) was born in Vienna and after several years as a primary school teacher returned to music, studying with a number of teachers including Alexander von Zemlinsky and Josef Foerster. As a composer she wrote a large number of chamber, vocal and orchestral works and enjoyed much success during her lifetime. She became a professor of music theory at the New Vienna Conservatory in 1918 and much of her work was published by Universal Edition and Musikhaus Doblinger.
$2.99
Johanna Müller-Hermann - Zwei Frauenchöre mit orchester, Op. 10 for female choir and chamber orch
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Johanna Muller-hermann
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Music for a While
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Johanna Müller-Hermann - Zwei
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Music for a While
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SheetMusicPlus
Large Ensemble Choir - Digital Download SKU: A0.914203 Composed by Johanna Muller-hermann. Arranged by Music for a While. 20th Century,Romantic Period. S...
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Large Ensemble Choir - Digital Download SKU: A0.914203 Composed by Johanna Muller-hermann. Arranged by Music for a While. 20th Century,Romantic Period. Score and parts. 35 pages. Music for a While #6631581. Published by Music for a While (A0.914203). Johanna Müller-Hermann (1868-1941) was born in Vienna and after several years as a primary school teacher returned to music studying with a number of teachers including Alexander von Zemlinsky and Josef Foerster. As a composer she wrote a large number of chamber, vocal and orchestral works and enjoyed much success during her lifetime. She became a professor of music theory at the New Vienna Conservatory in 1918 and much of her music was published by Universal Edition and Musikhaus Doblinger. Zwei Frauenchöre mit orchester op. 10 sets a text by Friedrich Hebbel (1813-1863) and a German translation of a poem by the Danish writer Jens Peter Jacobsen (1847-1885). The work was first published by Universal Edition in 1915.
$13.99
Johanna Müller-Hermann - Zwei Frauenchöre mit orchester, Op. 10 for female choir and chamber orch
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Johanna Muller-hermann
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Music for a While
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Johanna Müller-Hermann - Zwei
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Music for a While
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SheetMusicPlus
Large Ensemble Cello,Choir,Double Bass,Flute,Harp,Horn,Viola,Violin - Digital Download SKU: A0.914201 Composed by Johanna Muller-hermann. Arranged by Mus...
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Large Ensemble Cello,Choir,Double Bass,Flute,Harp,Horn,Viola,Violin - Digital Download SKU: A0.914201 Composed by Johanna Muller-hermann. Arranged by Music for a While. 20th Century,Romantic Period. Score and parts. 51 pages. Music for a While #6631585. Published by Music for a While (A0.914201). Johanna Müller-Hermann (1868-1941) was born in Vienna and after several years as a primary school teacher returned to music studying with a number of teachers including Alexander von Zemlinsky and Josef Foerster. As a composer she wrote a large number of chamber, vocal and orchestral works and enjoyed much success during her lifetime. She became a professor of music theory at the New Vienna Conservatory in 1918 and much of her music was published by Universal Edition and Musikhaus Doblinger. Zwei Frauenchöre mit orchester op. 10 sets a text by Friedrich Hebbel (1813-1863) and a German translation of a poem by the Danish writer Jens Peter Jacobsen (1847-1885). The work was first published by Universal Edition in 1915.
$100.00
Die Opern Mozarts
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Anna Amalie Abert
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Die Opern Mozarts
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Möseler Verlag
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SheetMusicPlus
SKU: M2.MOS-91001 Composed by Anna Amalie Abert. 114 pages. Möseler Verlag #MOS 91001. Published by Möseler Verlag (M2.MOS-91001). ISBN 97837877...
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SKU: M2.MOS-91001 Composed by Anna Amalie Abert. 114 pages. Möseler Verlag #MOS 91001. Published by Möseler Verlag (M2.MOS-91001). ISBN 9783787730018.Anna Amalie Abert, zuletzt Professorin in Kiel, Musikwissenschaftlerin von Rang und Mitarbeiterin an der Neuen Mozart-Ausgabe sowie der Gluck-Gesamtausgabe, ist fur eine Darstellung und Wurdigung der Opern Mozarts pradestiniert. Ihr 1970 erstmals erschienenes Buch hat in den Jahren nichts an Aktualitat und Uberzeugungskraft eingebusst.
$24.95
5 Easy Studies, Opus 50
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5 Easy Studies, Opus 50
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SheetMusicPlus
Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer...
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Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer, her potential as a composer was recognized quite early on. Women were not permitted to enroll in conventional composition classes at the Conservatoire de Paris at the time, but, she did receive private lessons from Anton Reicha, the professor of composition there. Years later she would receive a permanent appointment as Professor of Piano at the same institution, a position she held for thirty years. She was the only woman during the 19th century to bear that title. Her piano etudes possess pedagogical value as well as great beauty and character. These works lend themselves quite well to the guitar duo setting. While I have rendered all of Farrenc’s melodies quite faithfully, I have taken liberties with the accompaniments in order to make them more idiomatic to the guitar. Likewise, many of the effects of which the guitar is capable have been brought to bear in ways that deviate from the original intent of the etude. Alternatively, the challenges that some of these etudes were meant to address for the piano student are amplified by this adaptation. For example, etude 5 is intended to enable the piano student to improve the coordination between their left and right hands. It certainly presents a challenge in that regard to the guitar duo!These selections are entirely suitable for guitarists with limited experience, though they could, of course, be beautifully realized by players with a great deal more experience as well.Louise Farrenc était une compositrice, interprète, professeur et auteure française profondément influente. Même si elle deviendra finalement une interprète très recherchée, son potentiel en tant que compositrice est reconnu très tôt. Les femmes n'étaient pas autorisées à s'inscrire aux cours de composition conventionnels au Conservatoire de Paris à l'époque, mais elle recevait des cours particuliers d'Anton Reicha, le professeur de composition du Conservatoire de Paris. Des années plus tard, elle recevra un poste permanent de professeur de piano dans la même institution, poste qu'elle occupera pendant trente ans. Elle était la seule femme au XIXe siècle à porter ce titre.Ses études pour piano possèdent une valeur pédagogique ainsi qu'une grande beauté et un grand caractère. Ces œuvres se prêtent assez bien au montage en duo de guitares. Même si j’ai rendu assez fidèlement toutes les mélodies de Farrenc, j’ai pris des libertés avec les accompagnements afin de les rendre plus idiomatiques à la guitare. De même, de nombreux effets dont la guitare est capable ont été mis en œuvre d’une manière qui s’écarte de l’intention originale de l’étude. Alternativement, les défis que certaines de ces études étaient censées relever pour l'étudiant en piano sont amplifiés par cette adaptation. Par exemple, l'étude 5 est destinée à permettre à l'élève de piano d'améliorer la coordination entre ses mains gauche et droite. Cela représente certainement un défi à cet égard pour le duo de guitares !Ces sélections conviennent parfaitement aux guitaristes ayant une expérience limitée, même si elles pourraient bien sûr également être magnifiquement réalisées par des musiciens beaucoup plus expérimentés
Song List
:
1. Andantino grazioso
2. Andantino
3. Allegretto
4. Poco allegro
5. Allegro moderato
$7.95
Sonatina for Flute and Piano
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James Albert Yeager
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Sonatina for Flute and Piano
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James A. Yeager
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 p...
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Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Yeager #1075315. Published by James A. Yeager (A0.1499262). Foreword:Each movement revisits classic paradigms— (I & II) ternary song form,(III) theme & variations. The third movement treats the two themes as children at play with games such as tag and hide-and-seek as variations. Both themes become partner songs leading to fugue, which is, after all, the ultimate musical game.Performance Notes:I Moderato, slurs in the flute suggest phrasing but are optional in terms of breathing. The B section at letter C has a canon between flute and piano (left-hand) which suggests imitation in articulations and dynamics. The climax just before letter D can be stretched slightly more than poco rit. implies. II Slowly gently, must not be played slower than indicated. The middle section at letter B begins with a subito forte. At 3 measures before letter C the fermatas allow a certain freedom. When the flute releases the piano can continue the left-hand chord. The piano should use una corda in the bridge at letter C. Elsewhere, the piano may also employ una corda in quiet places ad libitum. At final note the flute can fade to nothing if breath runs out and just remain in pose as the final note of the piano is allowed to vanish.III Majestic with vigour, two given themes from ca. 1934 are Old Abram Brown by Benjamin Britten and Kookabura Sits on the Old Gum Tree by Marion Sinclair and both are rounds for children. The flute boldly declares theme one at the outset. The piano arpeggiations begin sonorously and quiet before letter A. In Variation 1 the piano must begin softer than the low register flute. The piano left-hand upper notes [A, then G, then D-A fifth) may require use of the sostenuto pedal. Variation 2 is a caccia or chase. Variation 3 is a barcarolle where theme 1 is hiding in the flute part. Variation 4 introduces the second theme (flute) in partnership with theme 1 (piano). Four measures before letter I the piano makes an ogre of theme 2 and should be humorously ponderous. The fugue subject might be the teacher who brings everyone into the final partner song of themes. The piece finishes as it began except for a wistful ending.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). While in Colorado he composed two film scores for student filmmakers as well as choral and organ compositions. He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. He led choirs of all ages from children through the elderly. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano(2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$30.00
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00
Lovely
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Pop music
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Billie Eilish
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a do Ray me flute studio pro
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Lovely
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as do Ray meflute studio production
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SheetMusicPlus
Large Ensemble Choir,Flute,Orff Instrument,Voice - Level 3 - Digital Download SKU: A0.874274 By Billie Eilish. By Billie Eilish, Billie Eilish O'Connell,...
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Large Ensemble Choir,Flute,Orff Instrument,Voice - Level 3 - Digital Download SKU: A0.874274 By Billie Eilish. By Billie Eilish, Billie Eilish O'Connell, Finneas O'Connell, and Khalid Robinson. Arranged by a do Ray me flute studio production, Ray-Michael Kauffman. Pop. Score and parts. 41 pages. As do Ray meflute studio production #6865945. Published by as do Ray meflute studio production (A0.874274). LOVELYLovely by Billie Eilish, Khalid and Finneas O'Connell , from the tv show series 13 reasons Why arranged for flute choir by me, Ray-Michael Kauffman. This arrangement was written and dedicated to Professor Morgann E. Davis Parrish , Flute Professor at Millersville University, PA , and also dedicated to the Millersville University First Flute Day. This arrangement is also a special one in the fact that this is a Composition that Cares, meaning all money made from this goes to charity, for treatment of mental illness and trauma victims. To purchase and support this cause , please go to https://www.sheetmusicplus.com/publis... and check my website out at www.doRaymeflute.com ******* About the instrumental part scoring, this arrangement was created and intended for flutists of all ages and abilities, and levels , backgrounds and experience to be able to play this.Because of this musical arrangement being created and premiered for and at Millersville University’s First Flute Day on 4/2/2022 ( hosted and created by the incredible Flute Professor at Millersville U. Morgann E. Davis Parrish ), I knew I could enable and create parts for the instrumental scoring that could add more depth and texture, and interest to both the players and audience ( no matter what the flutist’s ability is – because every one should and can play in a flute ensemble and make great music with others and HAVE FUN!! =0)) The two added / extra special parts are Flute E-M and Flute H-C. Flute E-M or C flute part 6 stands for elementary or more beginner player. I have easy rhythms/ notes, key signature and note values and wanted them to experience some melody as reflected in the part. If there is something still tricky for the player, please modify their part so they can enjoy in performing. Flute H-C stands for high school and more advanced playing . High schoolers want more of a challenge, so I wanted to create something both with more complexity and interest, but with in their means of ability as hopefully I reflected here. https://youtu.be/dEz-6bZtzKk
$18.99
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digit...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
...bis die Schatten der Nacht verdämmern
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Gerhard Mueller-Hornbach
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Bernd Kremling and Ruth Wentor
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...bis die Schatten der Nacht
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Musikverlag Zimmermann - Digital
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SheetMusicPlus
(alto-)flute and percussion (2 bongo drums, 2 congas drums, bass drum) (1 player) - Digital Download SKU: S9.Q574904 Composed by Gerhard Mueller-Hornbach...
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(alto-)flute and percussion (2 bongo drums, 2 congas drums, bass drum) (1 player) - Digital Download SKU: S9.Q574904 Composed by Gerhard Mueller-Hornbach. Arranged by Bernd Kremling and Ruth Wentorf. Flute and Percussion. Downloadable, Score and parts. Musikverlag Zimmermann - Digital #Q574904. Published by Musikverlag Zimmermann - Digital (S9.Q574904). German • English • French.This composition consists of 11 short pieces the sequence of which is part of an overall concept. Although it is possible to perform only some of the miniatures, the artists should bear in mind the overall concept very carefully. The composition is based on the fifth part of Müller-Hornbach's musical interpretation of the Bible's Song of Songs: Songs of love. The composition is part of the series flute and percussion, it is of advanced difficulty. Gerhard Müller-Hornbach, born in 1951, has been professor at the Frankfurt Conservatory since 1981. He is director of the MUTARE ENSEMBLE (ensemble which focusses on contemporary music) and - together with the MUTARE MUSIKTHEATER ENSEMBLE - he stages innovative projects for musical theatres.
$25.99
DvoÅ™ák: Largo from the New World Symphony for Bass Flute & Piano
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Antonin Dvorak
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James M
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DvoÅ™ák: Largo from the Ne
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549430 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructi...
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Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549430 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494193. Published by jmsgu3 (A0.549430). 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.  Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
Luther: Out of the Depths for Bass Flute & Piano
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Martin Luther
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James M
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548712 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Ins...
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Bass Flute,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548712 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411731. Published by jmsgu3 (A0.548712). Out of the Depths I Cry to You by Martin Luther arranged for bass flute & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
DvoÅ™ák: Largo from the New World Symphony for Piccolo & Piano
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AntonÃn Dvořák
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James M
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DvoÅ™ák: Largo from the Ne
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549434 Composed by AntonÃn Dvořák. Arranged by James M. Guthrie, ASCAP. In...
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Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549434 Composed by AntonÃn Dvořák. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494221. Published by jmsgu3 (A0.549434). 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. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.  Â
$32.95
DvoÅ™ák: Largo from the New World Symphony for Baritone Horn & Piano
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Classical
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Antonin Dvorak
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James M
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DvoÅ™ák: Largo from the Ne
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552853 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instruction...
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552853 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3494239. Published by jmsgu3 (A0.552853). 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. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius) and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he submitted two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876 and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák therefore to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation all in all nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
Luther: Out of the Depths for Contrabassoon & Piano
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Martin Luther
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James M
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
Contrabassoon,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548727 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,...
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Contrabassoon,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548727 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411773. Published by jmsgu3 (A0.548727). Out of the Depths I Cry to You by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
Luther: Out of the Depths for Baritone Horn & Piano
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Martin Luther
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James M
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.552829 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instr...
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Baritone Horn TC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.552829 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411723. Published by jmsgu3 (A0.552829). Out of the Depths I Cry to You by Martin Luther arranged for baritone horn & piano. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
Luther: Out of the Depths for Piano Trio
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Martin Luther
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James M
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
Piano Trio,String Ensemble - Level 1 - Digital Download SKU: A0.548730 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instruction...
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Piano Trio,String Ensemble - Level 1 - Digital Download SKU: A0.548730 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and parts. 8 pages. Jmsgu3 #3412105. Published by jmsgu3 (A0.548730). Out of the Depths I Cry to You by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 4 pg. piano part 2 pg. violin part: 1 pg. cello part: 1 pg. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$42.95
Widdicombe Fair by Julius Harrison for Clarinet Quintet
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Julius Harrison
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Stephen Davies
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Widdicombe Fair by Julius Harr
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Stephen Davies
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SheetMusicPlus
Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.891922 Composed by Julius Harrison. Arranged by Stephen Davies. 20th Century,Standards...
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Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.891922 Composed by Julius Harrison. Arranged by Stephen Davies. 20th Century,Standards. 19 pages. Stephen Davies #3539147. Published by Stephen Davies (A0.891922). The prolific conductor and composer Julius Harrison was born in Stourport in Worcestershire England in 1885, he spent most of his life in music, either conducting, composing, writing and teaching. He was also a founding member and Vice-President of the Elgar Society, and a professor at the Royal Academy of Music in London. This arrangement of his Widdicombe Fair highlights the eccentricity but delightful touch that Harrison possessed, don't be fooled by the light and jaunty opening, this music bites back!! Incidentally, I'm using the new Note Performer programme, its really terrific!!
$15.99
Good Enough - Polka - for "Hungry Five" Polka Band
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Frank M
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Aaron Hettinga
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Good Enough - Polka - for "Hun
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Aaron Hettinga
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SheetMusicPlus
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782009 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Mu...
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782009 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056781. Published by Aaron Hettinga (A0.782009). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be
$9.99
Lake-Side Polka - for "Hungry Five" Polka Band
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Frank M
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Aaron Hettinga
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Lake-Side Polka - for "Hungry
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Aaron Hettinga
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SheetMusicPlus
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782012 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Mu...
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782012 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056789. Published by Aaron Hettinga (A0.782012). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.Lake-Side Polka (originally published in 1874) has more participation in the Trumpet and Trombone parts than are found in much of the rest of this collection.This downloadable PDF package contains a full score and a set of folio-sized parts that are ready to go for your German Band's Oktoberfest gig!
$9.99
Nimble Toe - Polka - for "Hungry Five" Polka Band
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Frank M
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Aaron Hettinga
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Nimble Toe - Polka - for "Hung
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Aaron Hettinga
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SheetMusicPlus
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782013 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Mu...
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782013 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056791. Published by Aaron Hettinga (A0.782013). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.
$9.99
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