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The Dorian Suite
Sheetmusic to print
3 sheet music found
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"The Avalon Suite" a Dorian Melody
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Jacquelyn G
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"The Avalon Suite" a Dorian Me
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Jacquelyn Kleine
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SheetMusicPlus
Small Ensemble Flute,Guitar,Harp,Piano,Violin - Level 4 - Digital Download SKU: A0.938114 Composed by Jacquelyn G. Kleine. Celtic,Concert,Holiday,New Age...
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Small Ensemble Flute,Guitar,Harp,Piano,Violin - Level 4 - Digital Download SKU: A0.938114 Composed by Jacquelyn G. Kleine. Celtic,Concert,Holiday,New Age,World. Score and parts. 2 pages. Jacquelyn Kleine #3518763. Published by Jacquelyn Kleine (A0.938114). The Avalon Suite a Dorian Melody. A Celtic inspired melody. Here's a YouTube sample that has been arranged for Piano: https://www.youtube.com/watch?v=BSxm_EAhgRs
$5.99
St. Helens Suite (trombone/organ) by Brenda Portman
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Brenda Portman
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St. Helens Suite
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Brenda Portman
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SheetMusicPlus
Instrumental Duet,Organ,Trombone - Level 4 - Digital Download SKU: A0.1089447 Composed by Brenda Portman. Chamber,Christian,Classical,Contemporary,Sacred...
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Instrumental Duet,Organ,Trombone - Level 4 - Digital Download SKU: A0.1089447 Composed by Brenda Portman. Chamber,Christian,Classical,Contemporary,Sacred. 34 pages. Brenda Portman #693648. Published by Brenda Portman (A0.1089447). St. Helens Suite for trombone and organ takes its inspiration from the hymn tune DUKE STREET (paired with the text “Jesus Shall Reignâ€) by John Hatton, who lived on Duke Street in St. Helens, UK. The suite was meant to have dual purpose as a concert piece and as music for worship services. Each of the first three movements contains fragments of the hymn tune. The first movement, Exordium, is built upon three main ideas that alternate, one of which is the second phrase of DUKE STREET. Aria dolorosa takes its opening melody from the musical motive which appears in bar 32 of the fourth movement, which was composed first. The first phrase of the hymn tune is folded into the Aria, but may not be recognizable because of its Dorian mode and slightly altered rhythm. The Capriccio ritmico is brief and quirky, showcasing some unusual tone colors on the organ, staccato technique on the trombone, and incorporates the third and fourth phrases of the hymn tune. Finally, the Toccata energica merges trombone melodies with toccata-style figurations in the organ, and the full hymn tune, though rhythmically altered, is finally heard in the second half of the toccata.
$22.00
Jig
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transposing the piece one whol
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Gustav Holst
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Albert Loritz
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Jig
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Advance Music GmbH - Digital
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SheetMusicPlus
5 saxophones (SAATBar) - intermediate to advanced - Digital Download SKU: S9.Q40418 From St. Paul's Suite, op. 29. Composed by Gustav Holst. Arran...
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5 saxophones (SAATBar) - intermediate to advanced - Digital Download SKU: S9.Q40418 From St. Paul's Suite, op. 29. Composed by Gustav Holst. Arranged by Albert Loritz. This edition: score and parts. Saxophon - Quintett - Blasinstrument. Downloadable, Score and parts. Advance Music GmbH - Digital #Q40418. Published by Advance Music GmbH - Digital (S9.Q40418). The Jig is the first of the four movements of the “St Paul’s Suite†(op.29, No. 2) written by the British composer Gustav Holst in 1912. Holst composed this work for the string orchestra of the St Paul’s Girls’ School in Hammersmith where he had already been holding the position of Director of Music for seven years. The suite premiered in 1913. This vibrant and vivacious piece immediately captivates the listener. The folcloristic character of the theme and the playful use of the motivic material turn the Jig into a truly “catchy tuneâ€. Even meter and harmony both hold a whole series of charming little surprises. The original version of the composition is characterized by an exquisite setting for string orchestra, which draws the rich and mellow quality of its overall sound especially from those many double stops – mostly played as drones on open strings. Holst’s composition starts from the key of D dorian and finally ends in C mixolydian. The arrangement on hand converts the string setting into a five-part saxophone setting, translating the characteristic features of the original’s folcloristic style as best as possible to the new tone color. By transposing the piece one whole-tone down, the arrangement starts in a register which is very comfortable for saxophones to play in. The piece, however, would end up in a key and/or register in the last part (measure 170 of the original version), which could not be mastered by the saxophone instrumentation chosen for this arrangement. Therefore, the five-bar modulation leading from measure 165 to measure 169 in the original composition has been extended – true to Holst’s style – by two more bars (up to measure 171). This way, the Jig in its arrangement for saxophone quintet now starts in C dorian but finishes in G mixolydian.
$19.99
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