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There Was An Old Man
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There Was An Old Man
Sheetmusic to print
214 sheet music found
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201
The Old Castle
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Classical
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Modest Petrovich Mussorgsky
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Heinz Both
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The Old Castle
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Schott Music - Digital
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SheetMusicPlus
Alto saxophone and piano - easy to intermediate - Digital Download SKU: S9.Q7324 From Pictures at an Exhibition. Composed by Modest Petrovich Muss...
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Alto saxophone and piano - easy to intermediate - Digital Download SKU: S9.Q7324 From Pictures at an Exhibition. Composed by Modest Petrovich Mussorgsky. Arranged by Heinz Both. This edition: Sheet music. Downloadable. Schott Music - Digital #Q7324. Published by Schott Music - Digital (S9.Q7324). With his piano cycle Pictures at an Exhibition from 1874, Mussorgsky created a classic example of programme music. Based on the paintings of his deceased friend Viktor Hartmann, he also composed the lyrical serenade 'Il vecchio castello' (The Old Castle), among others. Hartmann's picture shows a medieval Italian castle with a singing troubadour who accompanies himself on the lute. In Maurice Ravel's subsequent famous orchestral version, the beautiful, melancholy melody was played by the alto saxophone. Accompaniment, prelude and interludes are reminiscent of playing a medieval hurdy-gurdy with its pervading drone bass. Therein lies the continuity of the piece, thereabove lies the quiet romance with its melancholy character – the unrequited love of the troubadour. This separate edition now gives all saxophonists the opportunity to play the piece with piano accompaniment.
$10.99
Popular Music from the Age of Humanism 1430-1530 - - Score Only
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Adrian Willaert, Anonymous, Co
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Alastair Lodge
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Popular Music from the Age of
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Wold Meridian
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1365464 Composed by Adrian Willaert, Anonymous, Conrad Paumann, Guglielmo Ebreo da Pesaro, Guillaume Dufay, Heinrich I...
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Level 3 - Digital Download SKU: A0.1365464 Composed by Adrian Willaert, Anonymous, Conrad Paumann, Guglielmo Ebreo da Pesaro, Guillaume Dufay, Heinrich Isaac, Johannes Ockeghem, John Bedyngham, Josquin Des Pres, Juan Roman, Magistro Rofino/Francesco Patavino, Robert Morton, and etc. Arranged by Alastair Lodge. Early Music,Historic,Medieval,Renaissance. 88 pages. Wold Meridian #949794. Published by Wold Meridian (A0.1365464). 26 Secular consort pieces and songs  in 2, 3 and 4 parts from late mediaeval and early renaissance sources in full score with lyrics.  The century between 1430 and 1530 was a revolutionary time for the arts in Europe, bridging the late Middle Ages and Early Renaissance.This selection of 26 pieces have been prepared in modern notation and familiar time signatures for those who wish to explore music popular secular music composed between these years .  There are songs and instrumental pieces that can be performed in a wide variety of ways, using modern  or period reproduction instruments.  Each piece has background historical notes, and there is an accompanying playlist on YouTube in which each of the pieces can be auditioned.  The pieces are presented in full score form, with lyrics provided.This book covers the transition in music between that featured in my volume Harmony of the Middle Ages, and the other two volumes Chording to the Dance Masters and Chording to the Consort.  Together they provide an invaluable companion to performers of Early Music, re-enactors or people who would like to extend their repertoire and get to know works of this period.
$15.00
A Whitman Triptych: II. What Is the Grass? (Downloadable)
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David Conte
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A Whitman Triptych: II. What I
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular...
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Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. “What is the Grass?†is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.†Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,†leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…†Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.†My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…â€, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.†The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42
$2.85
Barnacle Bill the Sailor (for German Band)
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Traditional
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Joseph Hasper
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Barnacle Bill the Sailor
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Joseph Hasper
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SheetMusicPlus
Large Ensemble Clarinet,Drum Set,Drums,Trombone,Trumpet,Tuba,Voice - Level 3 - Digital Download SKU: A0.734796 Composed by Traditional. Arranged by Josep...
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Large Ensemble Clarinet,Drum Set,Drums,Trombone,Trumpet,Tuba,Voice - Level 3 - Digital Download SKU: A0.734796 Composed by Traditional. Arranged by Joseph Hasper. Folk,Jazz,Traditional. Score and parts. 14 pages. Joseph Hasper #3213083. Published by Joseph Hasper (A0.734796). Traditional sailor's song arranged for German Band with two clarinets, trumpet, trombone, tuba, and optional drums. Includes a full score and all parts. Includes optional lyrics that let you sing a verse! Key of F. 81 measures, 20pages.Barnacle Bill the Sailor is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard. Versions are also known in England and Scotland from the early twentieth century.One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.Barnacle Bill the Sailor (Roud 4704) is an American drinking song adapted from Bollocky Bill the Sailor, a traditional folk song originally titled Abraham Brown.[1]There are several versions of the bawdy song in the Gordon Inferno Collection at the Library of Congress folklife archive. The first printed version of the song is in the public domain book Immortalia (1927). Later versions feature the eponymous Barnacle Bill, a fictional character loosely based on a 19th-century San Francisco sailor and Gold Rush miner named William Bernard.[2] Versions are also known in England and Scotland from the early twentieth century.The earliest known recording is an expurgated adaptation by Carson Robison and Frank Luther in 1928. This version was also recorded on May 21, 1930 by Bix Beiderbecke and Hoagy Carmichael with Carson Robison on vocals and released as a Victor 78, V-38139-A and 25371. In 1996 it was released on CD on the album Bix Beiderbecke 1927–1930.[3] According to Philip R. Evans, Bix Beiderbecke's biographer, in the second chorus of this recording, violinist Joe Venuti can be heard singing Barnacle Bill the Shit-head, either to express his attitude toward the record producer, or typical of his wacky sense of humor. Esten Spurrier, a friend of Beiderbecke's, is quoted by Evans as saying that Beiderbecke told him he could not believe the record would be pressed and had felt that it had been done just for laughs. Beiderbecke cut loose on the tune with what is believed to be one of his finest cornet solos. John Valby (aka Dr. Dirty) also recorded the song.The tune has inspired a Fleischer Studios Betty Boop cartoon and two films, as well as the name of a rock on Mars. Louis Jordan and the Tympany Five (then known as The Elks Rendezvous Band) recorded a clean version in 1938.[4] In the first Fleischer Popeye cartoon, Popeye the Sailor (1933), Barnacle Bill was used as the recurring theme for the Bluto character. A later Fleischer Popeye cartoon, Beware of Barnacle Bill (1935), is a mock operetta based around a toned-down version of the song.Example of lyrics[edit]One version of Barnacle Bill refers to an exchange between Bill and a fair young maiden. Each verse opens with inquiries by the maiden, sung by women, or by men in falsetto, and continues with Bill's profane responses sung by men.
$11.99
Fallen Soldiers for three C trumpets and organ
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Philip Goddard
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Fallen Soldiers for three C tr
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Musik Fabrik Music Publishing
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SheetMusicPlus
C Trumpet,Organ - Level 4 - Digital Download SKU: A0.1247397 Composed by Philip Goddard. 21st Century,Chamber,Classical,Patriotic. 30 pages. Musik Fabrik...
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C Trumpet,Organ - Level 4 - Digital Download SKU: A0.1247397 Composed by Philip Goddard. 21st Century,Chamber,Classical,Patriotic. 30 pages. Musik Fabrik Music Publishing #842033. Published by Musik Fabrik Music Publishing (A0.1247397). Fallen Soldiers' is actually an adaptation of the 8th (penultimate) movement of the Composer's large organ work 'The Great Wilderness', which is entitled 'Summit Contemplation (On the Loss of a Fellow Climber)'. There came a time when the Composer was feeling particular concern for and empathy with all the troops who were being sent out to fight against threatening tyrannical regimes in other countries and in many cases whose lives were being lost for causes that were based on scanty understanding of the real issues involved - and he thought of the early 20th century French composer Jehan Alain, known particularly for his striking and beautiful organ music, which shares some elements this composer's own works. He got mown down on the battlefield in the Second World War in very touching circumstances, and now this composer felt moved to produce a short commemorative work for that one-time kindred spirit. It was not specifically intended to express any particular emotion, but this music, full of an intense feeling of loss and loneliness, was what came out. It is not the Composer's grief or loneliness, but something deeper in human consciousness that found its way into the composition process.
$25.95
Pictures at an Exhibition 2. The Old Castle
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Classical
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Modest Petrovich Mussorgsky
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Erik Cole
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Pictures at an Exhibition 2. T
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Erik Cole
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SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.996121 Composed by Modest Petrovich Mussorgsky. Arranged by Erik Cole. Romantic Period. 33 pages. ...
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.996121 Composed by Modest Petrovich Mussorgsky. Arranged by Erik Cole. Romantic Period. 33 pages. Erik Cole #4793067. Published by Erik Cole (A0.996121). This is a transcription of the complete Pictures at an Exhibition for double reed choir. It is all in the original keys and based on the well-known Ravel orchestration, which is quite difficult. As a result, this arrangement is even more challenging. It is designed with at least 2 players per part in mind, and all of the oboe and bassoon parts are divisi throughout. The attached MP3 recordings are multi-track recordings of me playing all the parts. This was, by far, the most daunting recording I have put together for any of my arrangements, and I apologize for any minor imperfections in timing or pitch. In many places, this really stretched the limits of what I am capable of on bassoon. Faced with trying to recreate the uniqueness of Ravel’s use of the solo Alto Saxophone, I decided to give that part to a solo Oboe d’Amore. It’s quite distinct, and conveniently just exactly fits into the range of the instrument. Many groups won’t have access to a d’amore, though, so I have included an alternate part for English Horn. Using it does make this the only movement that requires 2 English Horns, however. This is also the movement where I discovered that the cheap recording equipment I’m using currently doesn’t like long sustained tones, and there are a lot of them in this movement. For whatever reason, there’s a lot of distortion on them in the MP3, and I apologize for not being able to figure out how to correct that.
$14.50
Folk Songs For Classical Guitar - Volume 24 (Songs 622-648)
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Traditional/Anonymous
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Socrates Arvanitakis
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Folk Songs For Classical Guita
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Socrates Arvanitakis
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Class...
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1161269 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 42 pages. Socrates Arvanitakis #761608. Published by Socrates Arvanitakis (A0.1161269). This is the twenty-fourth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment.The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 24 (Songs 622-648)Mummers’ Carol Must I thenMy Bonnie, Bonnie BoyMy Bonny CuckooMy Boy BillyMy Dearie She Sits Ower Late upMy Grandfather’s ClockMy JohnnyMy Johnny was a ShoemakerMy Love’s an ArbutusMy mother did so before meMy Own Pretty BoyMylecharane (Isle of Man) [Vylecharane]Myrtle Tree (the)Nae Bonnie Laddie tae Tak’ Me Awa’Nature CarolNelson’s DeathNever Marry an Old ManNew Year SongNewcastle FairThe New-Fashioned FarmerNight Visit SongNoble Foxhunting (the)Nos Galan (winter)Nottinghamshire Poacher (the)Ny Kirree Fo-SnaighteyO ’Twas in the Broad Atlantic
$25.00
The Poet's Pen for Tenor, Oboe and Piano
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Judith Cloud
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The Poet's Pen for Tenor, Oboe
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Judith Cloud
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SheetMusicPlus
Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score an...
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Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score and parts. 17 pages. Judith Cloud #6689693. Published by Judith Cloud (A0.981218). Composer’s Notes In my parents' library there was an assortment of very old books that I used to leaf through while home for holidays. One of these, The Ladies' Wreath, was of special interest. The inscription inside the front cover read To Miss Sophia Venable by her friend William M. Duphuy, April 25, 1850. Within the collection of romantic short stories and poems was The Poet's Pen from the Greek didactic poet Menecrates. Here was something very different from the overly sentimental offerings in most of the volume. I imagined the solitary lady reading this would feel most exhilarated and even empowered. Ideas for setting the poem came almost immediately, with the oboe as a key figure. Having experimented with a choral setting, I settled on tenor, oboe and piano and in 1989 the piece was completed. I revised The Poet’s Pen in 2016. The Poet's Pen I was a useless reed; no cluster hungMy brow with purple grapes; no blossom flungThe coronet of crimson on my stem;No apple blushed upon me, nor (the gemof flowers) the violet strewed the yellow heathAround my feet; nor jessamine's sweet wreathRobed me in silver: day and night I pinedOn the lone moor, and shivered in the wind.At length a poet found me. From my sideHe smoothed the pale and withered leaves, and dyedMy lips in Helicon. From that high hour,I spoke! my words were flame and living power!All the wide wonders of the earth were mine;Far as the surges roll, or sunbeams's shine;Deep as earth's bosom hides the emerald;High as the hills with thunder-clouds are palled;And there was sweetness round me, that the dewHad never wet so sweet on violets blue.To me the mighty scepter was a wand;The roar of nations pealed at my command.To me the dungeon, sword, and scourge were vain,I smote the smiter, and I broke the chain;Or, towering o'er them all, without a plumeI pierced the purple air, the tempest's gloom,Till blazed th'Olympian glories on my eye,Stars, temples, thrones and gods--infinity. Menecrates of Ephesus (330-270 BC)
$15.00
Three words too many for horn and guitar
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David Warin Solomons
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Three words too many for horn
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Guitar,Horn,Instrumental Duet - Level 2 - Digital Download SKU: A0.575958 Composed by David Warin Solomons. 20th Century,Contemporary,I...
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Instrumental Duet Guitar,Horn,Instrumental Duet - Level 2 - Digital Download SKU: A0.575958 Composed by David Warin Solomons. 20th Century,Contemporary,Instructional,Standards. Score and parts. 9 pages. David Warin Solomons #431497. Published by David Warin Solomons (A0.575958). Three words too many (say it in words and you cheat, you cheat the indefinable). This was originally a song, which I wrote back in my tender years (also available on this site for alto and guitar), but it also works equally well as an instrumental piece. I have therefore also provided versions on this site for guitar with: flute alto saxophone French horn English horn (cor anglais) clarinet oboe violin. After a gentle introductory major chord arpeggio, the tension of the piece comes into play from the third bar where the melody line holds and repeats an augmented 4th suspension above the guitar. This note then returns as the arpeggio chords change underneath to reveal it as a minor third of a chord related by three degrees of separation from the original - C major to E flat minor. The harmonies and melody continue to sway in their relations in a curious and yet logical progression. I have provided score and parts and also a separate version of the guitar part which provides chord names and fretboard symbols; this would make it useful for educational purposes. The sound sample is an electronic preview.
$7.00
Fields Of Gold
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Pop music
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Sting
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Max Stannard
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Fields Of Gold
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Max Stannard Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1450395 By Sting. By Sting. Arranged by Max Stannard. Pop. Brass Band. 33 pages. Max Stannard Music #1030125. Published by Max Stannard Music (A0.1450395). This solo for flugel horn is an arrangement of the song Fields of Gold by Sting. The song was also covered by American singer and guitarist Eva Cassidy who recorded a version that first appeared on her 1996 live album Live at Blues Alley, then later on her albums Songbird (1998). In Lyrics By Sting, the singer described the view from his 16th-century Wiltshire manor house: In England, our house is surrounded by barley fields, and in the summer it's fascinating to watch the wind moving over the shimmering surface, like waves on an ocean of gold. There's something inherently sexy about the sight, something primal, as if the wind were making love to the barley. Lovers have made promises here, I'm sure, their bonds strengthened by the comforting cycle of the seasons..
$24.99
Three words too many for alto and guitar
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David Warin Solomons
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Three words too many for alto
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Guitar,Low Voice - Level 3 - Digital Download SKU: A0.576041 Composed by David Warin Solomons. 20th Century,Contemporary,Standards. Score ...
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Small Ensemble Guitar,Low Voice - Level 3 - Digital Download SKU: A0.576041 Composed by David Warin Solomons. 20th Century,Contemporary,Standards. Score and parts. 8 pages. David Warin Solomons #2030189. Published by David Warin Solomons (A0.576041). Three words too many (say it in words and you cheat, you cheat the indefinable). This was originally a song, which I wrote back in my tender years, (sound sample performed by the composer) but it also works equally well as an instrumental piece. I have therefore provided versions on this site for guitar with: voice flute alto saxophone French horn English horn (cor anglais) clarinet oboe violin. After a gentle introductory major chord arpeggio, the tension of the piece comes into play from the third bar where the melody line holds and repeats an augmented 4th suspension above the guitar. This note then returns as the arpeggio chords change underneath to reveal it as a minor third of a chord related by three degrees of separation from the original - C major to E flat minor. The harmonies and melody continue to sway in their relations in a curious and yet logical progression. I have provided score and parts and also a separate version of the guitar part which provides chord names and fretboard symbols; this would make it useful for educational purposes.
$7.00
March in the Olde Style
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Kedarnath Awati
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March in the Olde Style
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Forton Music - Digital
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SheetMusicPlus
Ob. Pft. - Intermediate - Digital Download SKU: F2.FM466 Composed by Kedarnath Awati. Oboe and Piano. Score and part. 11 pages. Forton Music - Digital #F...
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Ob. Pft. - Intermediate - Digital Download SKU: F2.FM466 Composed by Kedarnath Awati. Oboe and Piano. Score and part. 11 pages. Forton Music - Digital #FM466. Published by Forton Music - Digital (F2.FM466). ISBN 9790570483655.What is olde in this piece is the middle section that has an obvious folksy character. Overall the composer has tried to make both the oboe part and the piano part interesting enough for music students to actually want to play the piece. There are also places where the individual instrumentalists can try their hand at improvising some details. Three hundred years ago this was a common practice and all performers were to an extent at least familiar with the art of improvising within a given framework. The composer believes that many performers today often neglect this important aspect of their craft and could greatly benefit by learning how to do this.
$7.95
No More Auction Block for Me (Many Thousand Gone) - Low Voice
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David Neff
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David Neff
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No More Auction Block for Me
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David Neff
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.829043 Composed by David Neff. Arranged by David Neff. Folk,Spiritual. 4 pages. David Neff #603...
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Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.829043 Composed by David Neff. Arranged by David Neff. Folk,Spiritual. 4 pages. David Neff #6035801. Published by David Neff (A0.829043). No More Auction Block originated in Canada before the US Civil War among African-Americans who had escaped slavery and found safe haven there. It was later adopted by black troops in the Union Army. It is a song of determination and hope, although its positive message is tempered by the wistful line that closes each verse--many thousand gone. Those many thousand were not only the many who had escaped slavery, but also those who had been separated from family and loved ones by being sold on the auction block. This is a low-voice adaptation of an arrangement written for tenor Larry D. Hylton, who sang with Moses Hogan and with the Metropolitan Opera Chorus, and who has been in over 350 performances of Porgy and Bess. David Neff and Larry Hylton collaborated on recording this remotely during the 2020 pandemic in order to produce music for their church's celebration of Juneteenth, following the widespread protests over the murder of George Floyd. The song is appropriate for any occasion that celebrates African-American history and music, as well as the ideals of freedom and liberty.
$4.99
Four Favorite Hymns from the Movie - "Stars In My Crown"
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Sacred music
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John R
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Ginny Saltzman
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Four Favorite Hymns from the M
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Ginny's House of Music
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.1180477 Composed by John R. Sweeny, Robert Low...
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Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - Digital Download SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robinson, John Wyeth. Arranged by Ginny Saltzman. 19th Century,Christian,Praise & Worship,Religious. 12 pages. Ginny's House of Music #780380. Published by Ginny's House of Music (A0.1180477). These are the 4 hymns in the colorized movie Stars in My Crown.(1) Will There Be Any Stars in My Crown? - An old favorite simplified hymn arrangement on Late Elementary-Early Intermediate Level, in the Key of G, with lyrics and Guitar chords included. From the scriptures Daniel 12:3 And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever. 1 Peter 5:4 And when the chief Shepherd shall appear, ye shall receive a crown of glory that fadeth not away. 1 Thessalonians 2:19-20 For what is our hope, or joy, or crown of rejoicing? Are not even ye in the presence of our Lord Jesus Christ at his coming? For ye are our glory and joy.(2) Shall We Gather At The River? - An old favorite hymn with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and Guitar chords. Very special arrangement with duet notation using the Violin and Flute. From the scriptures Revelation 22: 1 And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. 2 In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.(3) Beulah Land - An old favorite hymn with simplified Late Elementary - Early Intermediate Level Piano Accompaniment, Lyrics, in the Key of G. From the scriptures Deuteronomy 8: 7 For the Lord thy God bringeth thee into a good land, a land of brooks of water, of fountains and depths that spring out of valleys and hills; 8 A land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil olive, and honey; 9 A land wherein thou shalt eat bread without scarceness, thou shalt not lack any thing in it; a land whose stones are iron, and out of whose hills thou mayest dig brass. 10 ¶ When thou hast eaten and art full, then thou shalt bless the Lord thy God for the good land which he hath given thee. Isaiah 33:17 Thine eyes shall see the king in his beauty: they shall behold the land that is very far off.(4) Come Thou Fount of Every Blessing - An old favorite hymn in the Key of C, with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and additional melody with the Bb Clarinet. From the scriptures 1 Corinthians 15:10 But by the grace of God I am what I am: and his grace which was bestowed upon me was not in vain; but I laboured more abundantly than they all: yet not I, but the grace of God which was with me.1 Samuel 7 :12 Then Samuel took a stone, and set it between Mizpeh and Shen, and called the name of it Eben-ezer, saying, Hitherto hath the Lord helped us.
$7.99
Folk Songs For Classical Guitar - Volume 32 (Songs 838-864)
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Traditional/Anonymous
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Socrates Arvanitakis
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Folk Songs For Classical Guita
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Socrates Arvanitakis
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1166066 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Class...
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1166066 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 46 pages. Socrates Arvanitakis #766444. Published by Socrates Arvanitakis (A0.1166066). This is the thirtieth-second of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 32 (Songs 838-864)Tam LinTaney CountyTarpaulin Jacket (the)Tattie JockTen Joys of Mary (the)There was a Pig went out to DigThere was an Old Woman in our townThere’s nae luck aboot the hooseThis Old ManThou Bonnie Wood o’ CraigieleaThousands or MoreThree Dukes (the)Three HarksThree Jolly HuntsmenThree little babesThree Maidens a-milking did goThree PiratesThree Ravens (the)Three Score and TenThree SistersThresher and the Squire (the)Threshing SongThrough MoorfieldsThrough the GroveThe Tinker’s WeddingTipteerers’ CarolTo All the Good Children, A Happy New Year.
$25.00
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Le...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
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Various
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Alastair Lodge
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, ...
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Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
TRUMPETS: ANY USE?
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Alan Edgar
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TRUMPETS: ANY USE?
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Alan Edgar Ted Moon
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SheetMusicPlus
Pipe Organ,Soprano voice,Tenor Voice,Trumpet - Level 3 - Digital Download SKU: A0.1477463 Composed by Alan Edgar. Multicultural,World. 28 pages. Alan Edg...
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Pipe Organ,Soprano voice,Tenor Voice,Trumpet - Level 3 - Digital Download SKU: A0.1477463 Composed by Alan Edgar. Multicultural,World. 28 pages. Alan Edgar Ted Moon #1054857. Published by Alan Edgar Ted Moon (A0.1477463). TRUMPETS: ANY USE? Soprano orTenor,Trumpet,Organ.DAWN combines Ella Wheeler Wilcox's poem Dawn and the bugle call Reveille.AN EXECUTION.The Roman armies used horns at executions, to show that there was an officer present and responsible. The British army had two march tunes used to show contempt for a delinquent soldier, one for bugles, one for fifes. Here, I use both, as well as an original Dead March. Lyrics are from Kipling's poem Danny Deever.MOON MEDITATION Many cultures use brass instruments to aid meditation. Sets a poem by Wordsworth: I took a few liberties with the words.EXORCISM: This is based on Buddhist ceremonies. The idea seems to be that if one is possessed, the invading spirit is a guest from another realm and should be welcomed. Om, many padme, hum is a favourite chant.. To my ear, they used a wholetone scale. All four songs: 18 minutes.
$49.00
Divertimento in D major (Badley III:D4)
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Classical
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Leopold Hofmann
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Allan Badley
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Divertimento in D major
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Artaria Editions
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SheetMusicPlus
Cello,Flute,Viola,Violin - Digital Download SKU: A0.1487809 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 29 pages. Artaria Editions ...
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Cello,Flute,Viola,Violin - Digital Download SKU: A0.1487809 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 29 pages. Artaria Editions #1064747. Published by Artaria Editions (A0.1487809). The present work was advertised by Breitkopf in 1767 (Supplement II) but it was certainly composed in the previous year at the latest as the copy upon which this edition is based carries the performance date '15 Dezemb. 766' on the wrapper. A copy attributed to Joseph Haydn (and catalogued by Hoboken as II D6) is now preserved in the Gesellschaft der Musikfreunde in Wien: 'Divertimento in D / Flauto Traverso unison / Violino Concertato / Viola di Alto Oblig. / con / Basso / Del Sigre Giuseppe Haydn M. Doc LXVS / a / uso di Antonio Schaarschmidt 1767'. This edition is based on a set of MS parts now held in the Austrian National Library under the shelfmark S.m.11946. The wrapper reads: 'No.5 [No.1] / Divertimento / a / Flauto Traverso / Violino / Viola / e / Basso / Del / Sige: Leopoldo Hoffmann'. In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the source. As is often the case in Hofmann's chamber music there are very few dynamic markings; these are left to the discretion and good taste of the performer. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at times in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley.
$53.00
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
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J
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James M
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Bach-Gounod: Ave Maria, Schwen
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Ch...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888395. Published by jmsgu3 (A0.550930). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
Bach-Gonoud: Ave Maria, Schwencke version for Bass Flute & Piano
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J
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James M
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Bach-Gonoud: Ave Maria, Schwen
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jmsgu3
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SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.550921 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Chri...
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Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.550921 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christian,Christmas,Concert,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888307. Published by jmsgu3 (A0.550921). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Register for free lifetime updates and revisions at www.jamesguthrie.comAve MariaAve Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals.Bach OverviewFirst of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. HistoryBach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer. StyleIt seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. VoyagerNASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach that all the others combined.
$27.95
A Recorder CHRISTMAS Sing-A-Long
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Christmas
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the Sheep
While Shepherds
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Various
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Cody Sibley
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A Recorder CHRISTMAS Sing-A-Lo
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Drachen Music
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SheetMusicPlus
Acoustic Guitar,Alto Recorder,Bass Recorder,Soprano Recorder,Tenor Recorder,Voice - Level 2 - Digital Download SKU: A0.1295828 Composed by Various. Arran...
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Acoustic Guitar,Alto Recorder,Bass Recorder,Soprano Recorder,Tenor Recorder,Voice - Level 2 - Digital Download SKU: A0.1295828 Composed by Various. Arranged by Cody Sibley. Christian,Christmas,Holiday. 267 pages. Drachen Music #868436. Published by Drachen Music (A0.1295828). Celebrate the holidays with A Recorder Christmas Sing-A-Long - an incredible collection of 60 traditional public-domain Christmas songs. Each performance quality arrangement of each carol in this collection FEATURES full SATB RECORDER SCORES, INDIVIDUAL SATB RECORDER PARTS, and LEAD SHEETS with MELODY, LYRICS, and GUITAR CHORDS! There is also a convenient, detailed Table of Contents to help you quickly find the format and song you need. This collection includes the following pieces:All Through the NightAngels from the Realms of GloryAngels We Have Heard on HighAs Lately We WatchedAs With Gladness Men of OldAuld Lang SyneAway In a MangerBoar's Head Carol (The)Bring a Torch, Jeanette IsabellaCelebrate Immanuel's NameChild In the MangerChristmas DayCome, Thou Long Expected JesusCoventry CarolDeck the HallsDing, Dong, Merrily On HighDona Nobis PacemFirst Noel (The)Friendly Beasts (The)Gently Mary Laid Her ChildGesu BambinoGo Tell It on the MountainGod Rest Ye Merry, GentlemenGood Christian Men RejoiceGood King WenceslasHark! The Herald Angels SingHere We Come A-WassailingHolly and the Ivy (The)I Heard the Bells on Christmas DayI Saw Three ShipsIn the Bleak MidwinterInfant Holy, Infant LowlyIt Came Upon the Midnight ClearJesu, Joy of Man’s DesiringJingle BellsJolly Old St. NicholasJoy to the WorldLo, How a Rose E'er BloomingO Christmas TreeO Come All Ye FaithfulO Come, Little ChildrenO Come, O Come, EmanuelO Holy NightO Little Town of BethlehemO Sanctissima (O Most Holy)Once in Royal David's CityOver the River and Through the Wood`PatapanSilent NightSnow Lay On the GroundStill, Still, StillSussex CarolThere’s a Song In The AirUp on the HousetopWe Three KingsWe Wish You a Merry ChristmasWexford CarolWhat Child is This?While By the SheepWhile Shepherds WatchedThis entire collection of traditional Christmas carols is also available in the following variant collections;A Recorder Christmas Sing-A-Long, an incredible collection of 60 traditional public domain Christmas songs in performance quality arrangements FEATURING full SATB RECORDER SCORES, INDIVIDUAL SATB RECORDER PARTS, and LEAD SHEETS with MELODY, LYRICS and GUITAR CHORDS!A Very Recorder Christmas, is an incredible collection of 60 traditional public domain Christmas songs in performance quality arrangement FEATURING full SATB RECORDER SCORES and INDIVIDUAL SATB RECORDER PARTS!Let's Sing Christmas Songs!, an incredible collection of 60 traditional public domain Christmas songs in easy-to-use LEAD SHEETS. Each carol features the MELODY LINE, LYRICS, and GUITAR CHORDS!Each song in this collection is also available as a separate piece of music with a score, individual parts, and lead sheets with guitar chords. Each piece can be found by searching for the song title.
$39.95
Concertino in A major (Badley A2)
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Classical
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Leopold Hofmann
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Allan Badley
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Concertino in A major
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Artaria Editions
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SheetMusicPlus
Cello,Flute,Harpsichord,Violin - Level 3 - Digital Download SKU: A0.1487810 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 48 pages. A...
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Cello,Flute,Harpsichord,Violin - Level 3 - Digital Download SKU: A0.1487810 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 48 pages. Artaria Editions #1064748. Published by Artaria Editions (A0.1487810). Artaria Editions AE198For flute, violin, cello, harpsichord, and basso (usually a second cello)The present work was advertised by Breitkopf (Supplement IV) in 1769 along with two of the composer's keyboard concerti.Most of Hofmann's keyboard music appears to date from his years as Hofklaviermeister (1769-1774) and we can assume that a good deal of it was intended as teaching material. In the circumstances it is tempting to suggest that this attractive and unusually-scored work was composed for Hofmann's imperial pupils and that Joseph II perhaps played the cello part in a domestic concert at court. This edition is based on a set of MS parts now preserved in the Staatsbibliothek zu Berlin under the shelfmark Mus.ms. 10733/3. The wrapper reads: 'A/ Concertino / a / Cembalo / Flauto Traverso / Violino / Violoncello / e / Basso / del Sigr. Leop: Hoffmann / Grave' . The intended 'basso' instrument is uncertain but in all likelihood it was played by a second cello. In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Berlin copy. The simple continuo realisation, printed here in smaller type, has been added by a later hand and is certainly not the work of the composer. As is often the case in Hofmann's chamber music there are few dynamic markings in the parts although considerable care is taken with articulation. The style and notation of these have been standardised throughout, and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at times in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley.
$62.00
Home Again Guitar Minus Vocal
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Pop music
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Steven H
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Home Again Guitar Minus Vocal
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Boothe Publishing
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SheetMusicPlus
Guitar - Digital Download SKU: A0.1069956 Composed by Steven H. Boothe. Pop. Accompaniment. Duration 212. Boothe Publishing #4633655. Published by Boothe...
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Guitar - Digital Download SKU: A0.1069956 Composed by Steven H. Boothe. Pop. Accompaniment. Duration 212. Boothe Publishing #4633655. Published by Boothe Publishing (A0.1069956). After our first child arrived I realized that I wasn't free any longer. My mind returned to the good old days when I was free to daydream and do whatever it was that I wanted to do. When I was younger I had wanted to grow up to be a bird, a frog, an ant or a baby bee, but I had grown up to be a man, and now I had a wife and a baby son. Things were not the way I had imagined they would be. Now I had to go to work every day to pay the bills, and I didn't even like my job. It felt like I was bound in chains that were unbreakable. There seemed to be no way out, but there was a way out. All I had to do was accept that life had changed, that I had changed, and I needed to make the best of it. After making that decision life got better and better. I realized that the true plan for life was to create our own homes and families, and that sooner or later we will all return to our heavenly home. I love being home, and at the homes of my siblings, friends, and parents. Home is not really a physical place so much as it is where we are surrounded by people who love us. For me, being home is being where I am loved and accepted.
$1.99
Home Again Guitar Vocal Performance
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Pop music
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Steven H
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Home Again Guitar Vocal Perfor
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Boothe Publishing
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SheetMusicPlus
Guitar,Voice - Digital Download SKU: A0.1069974 Composed by Steven H. Boothe. Pop. Full Performance. Duration 212. Boothe Publishing #4633719. Published ...
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Guitar,Voice - Digital Download SKU: A0.1069974 Composed by Steven H. Boothe. Pop. Full Performance. Duration 212. Boothe Publishing #4633719. Published by Boothe Publishing (A0.1069974). After our first child arrived I realized that I wasn't free any longer. My mind returned to the good old days when I was free to daydream and do whatever it was that I wanted to do. When I was younger I had wanted to grow up to be a bird, a frog, an ant or a baby bee, but I had grown up to be a man, and now I had a wife and a baby son. Things were not the way I had imagined they would be. Now I had to go to work every day to pay the bills, and I didn't even like my job. It felt like I was bound in chains that were unbreakable. There seemed to be no way out, but there was a way out. All I had to do was accept that life had changed, that I had changed, and I needed to make the best of it. After making that decision life got better and better. I realized that the true plan for life was to create our own homes and families, and that sooner or later we will all return to our heavenly home. I love being home, and at the homes of my siblings, friends, and parents. Home is not really a physical place so much as it is where we are surrounded by people who love us. For me, being home is being where I am loved and accepted.
$1.99
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