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Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.27 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.28 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Timpani
Percussion Solo,Timpani - Level 5 - Digital Download SKU: A0.1018935 Composed by Be…
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Percussion Solo,Timpani - Level 5 - Digital Download SKU: A0.1018935 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6072973. Published by Benjamin Sajo (A0.1018935). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.19 €
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Nobody Love a Fairy When She's Forty - in C major (soprano key)
Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed b…
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Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697501. Published by Kim Kirkman (A0.779671). This is a wonderful old comedy song.This is in C major - the high key for sopranosI have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.Words:Verse:For years a fairy queen I've bin', For years I foiled the demon king.But alas, I'm getting on, The years have flown somehow,And I feel that Fairy Snowdrop isn't wanted now.Chorus One:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.She may still have her magic power, But that is not enough,They like their bit of magic from a younger bit of fluff.When once your silver star has lost its glitter,And your tinsel looks like rust instead of gold.Your fairy days are ending when your wand has started bending.Noone loves a fairy when she's old.Spoken:T'was I who found the magic wand, I will not tell you where.T'was I who found young Tinkerbell, her head was full of airI’ve been a fairy of the flowers, and fairy daffodils,I’ve been a fairy of the wind, and suffer from it still!In certain covered valley hills I go down to the glenBeen loved by all the children and run after by the men. Huh!Noone could touch me at me splits, me splits were all the rage,Until the night woodman left his chopper on the stage, what a mess!Verse 2:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.As far as I can see they try to push you off the map,When once your wand has withered and your wings refuse to flap.When you have lost your little fairy dimples,And the mothholes in your dress let in the cold,It seems that they would sooner listen to a blinkin' crooner,Noone loves a fai-y when she's old!
$1.99
1.81 €
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Arthur Le Clerq
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Nobody Love a Fairy When She's Forty - in C major
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Kim Kirkman
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SheetMusicPlus
I Love You, I'm Sorry
B-Flat Clarinet Solo - Level 3 - Digital Download SKU: A0.1509456 By Gracie Abrams.…
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B-Flat Clarinet Solo - Level 3 - Digital Download SKU: A0.1509456 By Gracie Abrams. By Aaron Brooking Dessner, Audrey Hobert, and Gracie Abrams. Arranged by Antônio S. Fernandes. Pop,Rock,Traditional. Individual part. 2 pages. Antônio S. Fernandes #1084695. Published by Antônio S. Fernandes (A0.1509456). Sheet Music PDF: I Love You, I'm Sorry – Gracie AbramsPlay the Emotional Depth of Gracie Abrams' Hit Song!Transform your musical journey with the official sheet music for I Love You, I'm Sorry, one of Gracie Abrams' most heartfelt and emotional tracks. This beautiful ballad, known for its raw vulnerability and captivating melody, can now be yours to play, with a perfectly transcribed arrangement in PDF format. Whether on piano, guitar, or vocals, this sheet music will help you capture the soul of the song.Why This Sheet Music Stands OutThe arrangement is meticulously crafted to reflect the deep emotional layers of Gracie Abrams’ delicate voice and poignant lyrics. Every chord, note, and rhythm is accurately captured to allow you to fully immerse yourself in the song’s intimate storytelling. This sheet music is designed for musicians of all skill levels, offering a clear and readable layout for a seamless learning experience.Unique Features: Includes vocal line, piano chords, and guitar tabs, allowing you to explore the full instrumental arrangement and accompany your own voice or a fellow singer.Instant PDF Download: Get started right away with a high-quality PDF that is easily printable or can be viewed digitally.Ideal for Musicians of All LevelsWhether you're a beginner looking for a challenge or an experienced musician eager to add a new song to your repertoire, this sheet music is the perfect tool. The easy-to-read format ensures smooth practice sessions, and the precise arrangement will help you deliver the same emotion and nuance that Gracie Abrams brings to the original track.Keywords: Sheet music PDF, Gracie Abrams, I Love You I'm Sorry, piano sheet music, guitar tabs, vocal score, music arrangement.Play Your Heart Out Today!Don’t miss the chance to perform one of Gracie Abrams’ most beloved songs. Purchase the sheet music now and start playing this moving and heartfelt ballad on your favorite instrument!
$5.00
4.55 €
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Gracie Abrams
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I Love You, I'm Sorry
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Antônio S. Fernandes
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q47192 Minor: Drone Ba…
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Voice, recorder and percussion - Digital Download SKU: S9.Q47192 Minor: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q47192. Published by Schott Music - Digital (S9.Q47192). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fourth volume: Songs and pieces using the full range of the aeolian, dorian and phrygian modes. Accompaniements are founded on drone bass with the later addition of simple chords.
$21.99
20.02 €
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q47388 Major: Drone Ba…
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Voice, recorder and percussion - Digital Download SKU: S9.Q47388 Major: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 2. Schott Music - Digital #Q47388. Published by Schott Music - Digital (S9.Q47388). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this second volume: Songs and pieces using the full major scale. Accompaniments are founded on drone bass with the later addition of simple chords.
$21.99
20.02 €
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Jazz Hodie (On this Day Earth Shall Ring)
Bass Guitar,Double Bass,Mallet Percussion,Piano,Triangle - Digital Download SKU: A0.149…
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Bass Guitar,Double Bass,Mallet Percussion,Piano,Triangle - Digital Download SKU: A0.1496826 Composed by Piae Cantones, 1583. Arranged by Ken Litton. 20th Century,Advent,Christian,Christmas,Sacred. Accompaniment. Duration 173. Artist of Note, Inc. #1073310. Published by Artist of Note, Inc. (A0.1496826). Jazz Hodie (On this Day)PERSONENT HODIE arr. Ken Litton (ASCAP)Demo & Accompaniment track .mp3 Those who have the good fortunate to hear Gustav Holst’s arrangement of PERSONENT HODIE as a choral processional with its engaging melody, measured gait and echoed text have never forgotten the magical moment—and were never really ready for it to end. Hailing from the The Oxford Book of Carols this German plainsong melody—from the Piae Cantones, 1583—has made its way into strong choral and worship traditions at Advent/Christmas.Of all the current texts and arrangements available, this version honors Holst’s unison accompanied setting in an unexpected subtle jazz styling, with the hope of bringing additional range to its established place in advent literature (both in terms of style and in appeal to a variety of age groups). And, On This Day Earth Shall Ring, translated by Jane M. Joseph (text in the public domain) gives it just the traditional touch needed for Jazz Hodie (On this Day).This SATB setting of the tune offers accompaniment designed for piano or organ, optional acoustic/string bass and an optional part for a single player involving three of the percussionist section best friends in the : the suspended cymbal, mallets (vibraphone, marimba or bells or bell lyre), and a small triangle. It should be noted that an electronic piano/synthesizer voice could substitute well for the mallets and the use of handbells is also viable. Perfect for Lessons & Carols presentations!The unison singing and bell-tone echoes of the first stanza/refrain soon give way to smooth, contrasting jazz harmony. The choral ranges are very much within the reach of the average choir and the voicings vary from unison to three and four parts, followed by a return to the character of the opening. The piece builds toward a close with a choral ascent in the final bars and a bass line reminiscent of the first verse, but with an extra jazz twist. But, it can easily be restarted for processional use by simply dropping back into the C minor introduction’s bass line. The String Bass/Electric Bass part is included in both the pdf score download and on the Demo & Accompaniment mp3 download.Also available in a hymn sheet version that includes everything needed for UNISON Choir and the worshiping congregation.All this from the places you go for the best in downloadable resources: Sheet Music Direct Sheet Music Plus As well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.
$4.99
4.54 €
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Piae Cantones, 1583
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Accompaniment track
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Jazz Hodie
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Artist of Note, Inc.
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SheetMusicPlus
Jazz Hodie (On This Day)
Bass Guitar,Double Bass,Organ Accompaniment,Piano - Level 2 - Digital Download SKU: A0.…
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Bass Guitar,Double Bass,Organ Accompaniment,Piano - Level 2 - Digital Download SKU: A0.1509637 Composed by Gustav Holst. Arranged by Ken Litton. 20th Century,Advent,Christmas,Jazz,Sacred. Accompaniment. Duration 746. Artist of Note, Inc. #1084881. Published by Artist of Note, Inc. (A0.1509637). Jazz Hodie (On this Day)PERSONENT HODIE arr. Ken Litton (ASCAP)Sheet Music Directhttps://www.sheetmusicdirect.com/en-US/se/ID_No/1615662/Product.aspxSheet Music Plushttps://www.sheetmusicplus.comAlso available:Audio accompaniment/demo MP3Those who have the good fortunate to hear Gustav Holst’s arrangement of PERSONENT HODIE as a choral processional with its engaging melody, measured gait and echoed text have never forgotten the magical moment and were never really ready for it to end. Hailing from The Oxford Book of Carols this German plainsong melody—from the Piae Cantones, 1583—has made its way into strong choral and worship traditions at Advent/Christmas.Of all the current texts and arrangements available, this version honors Holst’s unison accompanied setting in an unexpected, subtle jazz styling with the hope of bringing additional range to its established place in advent literature (both in terms of style and in appeal to a variety of age groups).And, On This Day Earth Shall Ring, translated by Jane M. Joseph (text in the public domain) gives it just the balancing traditional touch needed..This UNISON setting offers accompaniment designed for piano or organ with option for a string bass played finger style in the jazz tradition.This one is perfect for Lessons & Carols presentations. And, it can easily be restarted for processional use by dropping back into the C minor introduction’s bracketed bass line.Also available in an SATB version that offers accompaniment designed for piano or organ, optional acoustic/string bass and an optional part for a single player involving three of the percussionist section best friends: suspended cymbal, mallets (vibraphone, marimba or bells or bell lyre), and a small triangle. But, an electronic piano/synthesizer voice could substitute well for the mallets and the use of handbells is also viable.Note: This hymn plate version has everything needed for the worshiping congregation!Also available: Audio accompaniment/demo MP3All this from the places you go for the best in downloadable resources as well as via Hal Leonard InStore™ retailers.Be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!
$4.99
4.54 €
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Gustav Holst
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Carols presentations
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Jazz Hodie
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Artist of Note, Inc.
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.7 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.7 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Brass Recital (for Brass Sextet)
2nd & 3rd Trombones Trombone SKU: HL.4474520 Optional 2nd & 3rd Trombone. En…
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2nd & 3rd Trombones Trombone SKU: HL.4474520 Optional 2nd & 3rd Trombone. Ensemble Collection. Classical, Contest. 16 pages. Published by Rubank Publications (HL.4474520). UPC: 073999077803. 9.0x12.0x0.065 inches.Scored for 1st and 2nd cornet/trumpet, F horn, trombone, baritone and tuba (optional parts also available: 3rd/4th cornet/trumpet, 2nd/3rd F horn and 2nd/3rd trombone) This great collection of grade 3 music for brass choirs appears on many state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The thirteen works in this series include classics as well as contemporary pieces by the original Rubank composers. A must for your school or church library.
Song List
: Intrada No. 7 Canciones Mexicanas The Earle Of Oxford's Marche Canzone No. 4 Two Dialogues Retrospection A Day Of Joy Op. 63, No. 5 Andante And Allegro (K. 188) Scherzino Processional For Brass Passamezzo Brillante Ecce Sacerdos Cordoba Op.232 No.4 (Albeniz)
$5.99
5.45 €
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Brass Recital
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Rubank Publications
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SheetMusicPlus
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe …
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
9.1 €
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Thomas Oboe Lee
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Focus on Grace ... A concerto for jazz saxophone and orchestra
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Thomas Oboe Lee
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SheetMusicPlus
Ode to Joy by Beethoven for Trombone Quintet
Trombone Quintet - Level 2 - Digital Download SKU: A0.1252416 Composed by Ludwig va…
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Trombone Quintet - Level 2 - Digital Download SKU: A0.1252416 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,March,Opera,Romantic Period. 14 pages. Woods Only, Arrangements #846386. Published by Woods Only, Arrangements (A0.1252416). This arrangement adapted for trombone quintet was written keeping the characteristics of the original work, that is, inspiring and significant to the already known choral symphony by Beethoven, indicated to be performed by young music students, who want to enter the symphonic music, moreover, it can also be used by professional musicians, for recitals, repertoire, academic presentations and didactic material. As much as it is a funeral march, it is well suited for any musical performance occasion. The transcription is faithful to the structure, with only one change in key, so that it is comfortable for all instruments in the formation, thus maintaining the essence of the striking melody, as well as using it for ensemble practice among musicians of different traditions.Beethoven's Ninth Symphony Op. 125 incorporates part of the poem An die Freude (To Joy), a hymn written by Friedrich Schiller, with the text sung by soloists and a choir in its last movement. It was the first example of a major composer using the human voice as prominently as the instruments in a symphony, thus creating a far-reaching work that set the tone for the symphonic form that was to be adopted by Romantic composers. This is the last complete symphony composed by Ludwig van Beethoven. The choral symphony, better known as the Ninth Symphony or The Ninth, is one of the best known works in the Western repertoire, considered both an icon and predecessor of Romantic music, and one of Beethoven's great masterpieces, where it was first performed on May 7, 1824, the same year it was completed, at the Kärntnertortheater in Vienna, Austria. The conductor was Michael Umlauf, the theater's music director, and Beethoven - dissuaded from conducting by the advanced stage of his deafness - was given a special place on the stage next to the conductor. It was later rearranged by Herbert von Karajan to become the anthem of the European Union in 1972, the national anthem of Rhodesia from 1974 until 1979, Rise, O Voices of Rhodesia, used the tune Ode to Joy..
$9.99
9.1 €
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Ludwig van Beethoven
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Ode to Joy by Beethoven for Trombone Quintet
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Woods Only, Arrangements
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovanni Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovanni Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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jmsgu3
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SheetMusicPlus
Phyllis the Photobombing Phantom, Halloween Duet for Trumpet and Tenor Horn
Instrumental Duet Instrumental Duet,Tenor Horn,Trumpet - Level 4 - Digital Download SKU…
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Instrumental Duet Instrumental Duet,Tenor Horn,Trumpet - Level 4 - Digital Download SKU: A0.592237 Composed by David McKeown. Concert,Contemporary,Halloween,Standards. Score and parts. 5 pages. David McKeown #6355707. Published by David McKeown (A0.592237). Phyllis the Photobombing Phantom is a fun and original duet written by David McKeown for one Trumpet and one Tenor Horn in E Flat. Phyllis the Photobombing Phantom is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Trumpet and Tenor Horn.You have probably met Phyllis. Before tripping over a coat-hanger and becoming a phantom, Phyllis was a successful model and she still loves the camera. Since you need good light for photography she isn’t nocturnal like the other phantoms. If you’ve ever had those annoying light spots and flares in your pictures, that’s Phyllis photobombing your shot.Phyllis the Photobombing Phantom is suitable for players at an advanced intermediate level and above, with the accessible range balanced by some faster whole-tone passages. With a playing-time of around three and a half minutes, Phyllis the Photobombing Phantom is a perfect spooky addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.63 €
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David McKeown
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Phyllis the Photobombing Phantom, Halloween Duet for Trumpet and Tenor Horn
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David McKeown
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SheetMusicPlus
Phyllis the Photobombing Phantom, Halloween Duet for Oboe and Cor Anglais (or English Horn)
Instrumental Duet English Horn,Instrumental Duet,Oboe - Level 4 - Digital Download SKU:…
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Instrumental Duet English Horn,Instrumental Duet,Oboe - Level 4 - Digital Download SKU: A0.592226 Composed by David McKeown. Concert,Contemporary,Halloween,Standards. Score and parts. 5 pages. David McKeown #6355685. Published by David McKeown (A0.592226). Phyllis the Photobombing Phantom is a fun and original duet written by David McKeown for one Oboe and one Cor Anglais (or English Horn). Phyllis the Photobombing Phantom is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Oboe and Cor Anglais (or English Horn).You have probably met Phyllis. Before tripping over a coat-hanger and becoming a phantom, Phyllis was a successful model and she still loves the camera. Since you need good light for photography she isn’t nocturnal like the other phantoms. If you’ve ever had those annoying light spots and flares in your pictures, that’s Phyllis photobombing your shot.Phyllis the Photobombing Phantom is suitable for players at an advanced intermediate level and above, with the accessible range balanced by some faster whole-tone passages. With a playing-time of around three and a half minutes, Phyllis the Photobombing Phantom is a perfect spooky addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.63 €
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David McKeown
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Phyllis the Photobombing Phantom, Halloween Duet for Oboe and Cor Anglais
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David McKeown
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SheetMusicPlus
Phyllis the Photobombing Phantom, Halloween Duet for Oboe and Violin
Instrumental Duet Instrumental Duet,Oboe,Violin - Level 4 - Digital Download SKU: A0.59…
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Instrumental Duet Instrumental Duet,Oboe,Violin - Level 4 - Digital Download SKU: A0.592227 Composed by David McKeown. Concert,Contemporary,Halloween,Standards. Score and parts. 5 pages. David McKeown #6355687. Published by David McKeown (A0.592227). Phyllis the Photobombing Phantom is a fun and original duet written by David McKeown for one Oboe and one Violin. Phyllis the Photobombing Phantom is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Oboe and Violin.You have probably met Phyllis. Before tripping over a coat-hanger and becoming a phantom, Phyllis was a successful model and she still loves the camera. Since you need good light for photography she isn’t nocturnal like the other phantoms. If you’ve ever had those annoying light spots and flares in your pictures, that’s Phyllis photobombing your shot.Phyllis the Photobombing Phantom is suitable for players at an advanced intermediate level and above, with the accessible range balanced by some faster whole-tone passages. With a playing-time of around three and a half minutes, Phyllis the Photobombing Phantom is a perfect spooky addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.63 €
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David McKeown
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Phyllis the Photobombing Phantom, Halloween Duet for Oboe and Violin
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David McKeown
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SheetMusicPlus
Turkish March by Beethoven for Trombone Quintet
Trombone Quintet - Level 3 - Digital Download SKU: A0.1243616 Composed by Ludwig va…
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Trombone Quintet - Level 3 - Digital Download SKU: A0.1243616 Composed by Ludwig van Beethoven. Arranged by Ander. Classical,Folk,March,Opera,Romantic Period. 11 pages. Woods Only, Arrangements #838584. Published by Woods Only, Arrangements (A0.1243616). This arrangement adapted for trombone quintet was written keeping the characteristics of the original work, in order to be performed by young music students who want to enter the symphonic music. Besides, it can also be used by professional musicians for recitals, repertoire, academic presentations and didactic material. The transcription remains faithful to the structure, with only one change in tone, so that it is comfortable for all the instruments in the formation, as well as being used as an activity in ensemble practice among musicians of different traditions.Beethoven's Turkish March (Op. 113) is the 4th movement of the operatic work: The Ruins of Athens, a set of incidental pieces written in 1812 by Ludwig van Beethoven, where the melody was originally written in 1809 as Theme with Six Variations for Piano, Op. 76. The work was written to accompany the play of the same name by August von Kotzebue, for the dedication of a new theater in Pest. Perhaps the best known part of the composition is the Marcia alla turca, In Latin America, this movement became known in Jean-Jacques Perrey's version (who titled it The Elephant never Forgets) since it was used as the opening theme of the successful Mexican TV comedy El Chavo del Ocho. The opening and the turkish march are often performed separately, and the other pieces in this set are not often heard.
$9.99
9.1 €
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Ludwig van Beethoven
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Turkish March by Beethoven for Trombone Quintet
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Woods Only, Arrangements
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SheetMusicPlus
Dare You To Move
Small Ensemble Bass Guitar,Cello,Double Bass,Drums,Viola,Violin - Level 3 - Digital Downlo…
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Small Ensemble Bass Guitar,Cello,Double Bass,Drums,Viola,Violin - Level 3 - Digital Download SKU: A0.832775 By Switchfoot. By Jonathan Foreman. Arranged by Keith McCauley. Rock. Score and parts. 36 pages. Cantus Youth Choirs Publishing #4792761. Published by Cantus Youth Choirs Publishing (A0.832775). From the Cantus Youth Choirs Pop Series, comes an arrangement of SWITCHFOOT'S anthem, Dare You To Move. This arrangement is for male lead and three-part mens ensemble, TBB. This download includes Director's Score, Violin 1 and 2, Viola, Cello, Double Bass, Electric Guitar, Electric Bass, and Drum Set. Please see H0.622693-SC001256082 for the VOCALS & PIANO score. The ranges for basses and baritone are very comfortable for the most part. There are several opportunities where basses and baritones are written to reinforce the tenor melody. This is a great opportunity to work on a unified bass/baritone falsetto sound and getting lower voices to pop over into a falsetto on the high stuff in a we're all going for it sort of way.
$14.99
13.65 €
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Switchfoot
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PIANO score
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Dare You To Move
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Cantus Youth Choirs Publishing
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SheetMusicPlus
Guthrie: The Saxophone Choir Christmas Book
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Do…
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.550709 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Instructional,Standards. 68 pages. Jmsgu3 #4784649. Published by jmsgu3 (A0.550709). The Saxophone Christmas BookChristmas Reharmonizations by James M. Guthrie. The Saxophone Christmas Book is a collection of the 18 Most Famous Christmas Songs of all time with new and surprising harmony.FormatFirst of all, your sax choir can perform the Saxophone Christmas Book directly from the score. This is easy because each song is only two pages long, hence there are no page turns. Alternatively, this download includes a full set of parts. So various combinations are also possible: e.g. Soprano & Alto read from the score on one stand, while the Tenor & Bass uses the parts on a separate stand. The Saxophone Christmas Book is available in whatever format works best for your particular ensemble.PerformanceThis collection of the most famous 18 Christmas songs can be performed as a medley as written. Moreover, selected songs from the Saxophone Christmas Book could be chosen as the last verse of a hymn presentation. In this case, just play the usual arrangement from the hymnal for the first verses, then switch to this arrangement for the final verse. This adds a great deal of energy and unexpected adventure to your performance. Each song could be repeated depending upon the length of time required. This is a very versatile collection. Suitable for Christmas parties or receptions, church services, and receptions, nightclubs, and school presentations. Also, they are very easy to perform or even sight-read.MusicEach song in the Saxophone Christmas Book is adventurously reharmonized, but the melody always remains perfectly intact. This makes it easy for anyone to sing along. Moreover, the songs end properly in the correct key so as to add an element of familiarity and closure. Tempo markings occur at the beginning of each song, but you can adjust these to your liking. Articulations are carefully calculated to emphasize the characteristics of wind instruments.ContentsVeni, veni, Emmanuel (O Come, O Come, Emmanuel)Helmsley (Lo! He Comes with Clouds Descending)Antioch (Joy to the World)Carol (It Came Upon a Midnight Clear)Es ist ein Ros (Lo, How a Rose)GloriaGod Rest You MerryGreensleevesIn dulci jubilo (In Thee is Gladness)Mendelssohn (Hark the Herald Angels Sing)Personet hodieThe First NoelSalzburg (At the Lamb’s High Feast We Sing)Three Kings of OrientAdeste Fideles (O Come All Ye Faithful)St Louis (O Little Town of Bethlehem)Away in a MangerStille Nacht (Silent Night)Score: 36 pages, Total duration with no repeats: ca. 14:00
$34.95
31.82 €
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Traditional
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Alto
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Guthrie: The Saxophone Choir Christmas Book
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jmsgu3
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SheetMusicPlus
Brass Recital (for Brass Sextet)
5th Part (Baritone B.C.) Brass Ensemble; Brass Sextet SKU: HL.4474460 Baritone B…
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5th Part (Baritone B.C.) Brass Ensemble; Brass Sextet SKU: HL.4474460 Baritone B.C.. Ensemble Collection. Classical, Contest. 16 pages. Published by Rubank Publications (HL.4474460). UPC: 073999744606. 9.0x12.0x0.066 inches.Scored for 1st and 2nd cornet/trumpet, F horn, trombone, baritone and tuba (optional parts also available: 3rd/4th cornet/trumpet, 2nd/3rd F horn and 2nd/3rd trombone) This great collection of grade 3 music for brass choirs appears on many state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The thirteen works in this series include classics as well as contemporary pieces by the original Rubank composers. A must for your school or church library.
Song List
: Intrada No. 7 Canciones Mexicanas The Earle Of Oxford's Marche Canzone No. 4 Two Dialogues Retrospection A Day Of Joy Op. 63, No. 5 Andante And Allegro (K. 188) Scherzino Processional For Brass Passamezzo Brillante Ecce Sacerdos Cordoba Op.232 No.4 (Albeniz)
$5.99
5.45 €
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Brass Sextet
SKU: HL
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Brass Recital
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Rubank Publications
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SheetMusicPlus
Brass Recital (for Brass Sextet)
5th Part (Baritone T.C.) Brass Ensemble; Brass Sextet SKU: HL.4474470 Baritone T…
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5th Part (Baritone T.C.) Brass Ensemble; Brass Sextet SKU: HL.4474470 Baritone T.C.. Ensemble Collection. Classical, Contest. 16 pages. Published by Rubank Publications (HL.4474470). UPC: 073999744705. 9.0x12.0x0.071 inches.Scored for 1st and 2nd cornet/trumpet, F horn, trombone, baritone and tuba (optional parts also available: 3rd/4th cornet/trumpet, 2nd/3rd F horn and 2nd/3rd trombone) This great collection of grade 3 music for brass choirs appears on many state contest lists and includes pieces of varying lengths and styles to suit any performance opportunity. The thirteen works in this series include classics as well as contemporary pieces by the original Rubank composers. A must for your school or church library.
Song List
: Intrada No. 7 Canciones Mexicanas The Earle Of Oxford's Marche Canzone No. 4 Two Dialogues Retrospection A Day Of Joy Op. 63, No. 5 Andante And Allegro (K. 188) Scherzino Processional For Brass Passamezzo Brillante Ecce Sacerdos Cordoba Op.232 No.4 (Albeniz)
$5.99
5.45 €
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Brass Sextet
SKU: HL
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Brass Recital
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Rubank Publications
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SheetMusicPlus
Jazz Hodie ( On This Day) UNISON Hymn Page
Choral Choir,Choral,Unison Chorus - Level 2 - Digital Download SKU: A0.1509436 Comp…
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Choral Choir,Choral,Unison Chorus - Level 2 - Digital Download SKU: A0.1509436 Composed by Gustav Holst. Arranged by Ken Litton. 20th Century,Advent,Christmas,Jazz,Religious. 3 pages. Artist of Note, Inc. #1084674. Published by Artist of Note, Inc. (A0.1509436). Jazz Hodie (On this Day)PERSONENT HODIE arr. Ken Litton (ASCAP)Sheet Music Plus Sheet Music Direct Also available: Those who have the good fortunate to hear Gustav Holst’s arrangement of PERSONENT HODIE as a choral processional with its engaging melody, measured gait and echoed text have never forgotten the magical moment and were never really ready for it to end. Hailing from The Oxford Book of Carols this German plainsong melody—from the Piae Cantones, 1583—has made its way into strong choral and worship traditions at Advent/Christmas.Of all the current texts and arrangements available, this version honors Holst’s unison accompanied setting in an unexpected, subtle jazz styling with the hope of bringing additional range to its established place in advent literature (both in terms of style and in appeal to a variety of age groups).And, On This Day Earth Shall Ring, translated by Jane M. Joseph (text in the public domain) gives it just the balancing traditional touch needed..This UNISON setting offers accompaniment designed for piano or organ with option for a string bass played finger style in the jazz tradition. And, it can easily be restarted for processional use by dropping back into the C minor introduction’s bracketed bass line.Also available in an SATB version that offers accompaniment designed for piano or organ, optional acoustic/string bass and an optional part for a single player involving three of the percussionist section best friends: suspended cymbal, mallets (vibraphone, marimba or bells or bell lyre), and a small triangle. But, an electronic piano/synthesizer voice could substitute well for the mallets and the use of handbells is also viable.Note: This hymn plate version has everything needed for the worshiping congregation!All this from the places you go for the best in downloadable resources as well as via Hal Leonard InStore™ retailers.Be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.
$2.99
2.72 €
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Gustav Holst
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Jazz Hodie
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Artist of Note, Inc.
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SheetMusicPlus
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