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9976
Jesus Shall Reign Where'er the Sun
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.56 €
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Piano solo
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John Hatton
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.65 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.22 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Be…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda
$11.95
10.93 €
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Alto Saxophone and Piano
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Ali Ben Sou Alle, Wolfgang Amadeus Mozart
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Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Theme and Variations (Andante) from Symphony No. 94 ("Surprise")
Concert band
Concert Band - Level 5 - Digital Download SKU: A0.840485 Composed by Franz Joseph H…
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Concert Band - Level 5 - Digital Download SKU: A0.840485 Composed by Franz Joseph Haydn. Arranged by Ted R. Marcus. Classical,Contest,Festival,Historic. Score and Parts. 93 pages. Ted R. Marcus #3368179. Published by Ted R. Marcus (A0.840485). The tonal palette of the modern concert band brings fresh color and variety to the complete second movement of Haydn's Surprise Symphony. The famous theme and one of the variations explore the subtle contrast between bassoon and English horn. The original repeats are opened up and scored differently, using contrasting colors and combinations of solo clarinet, solo flute, piccolo, and soprano saxophone. A repeated section first has a flute and oboe accompanied with clarinets, then a saxophone quartet on the repeat. One variation features a solo piccolo and bells. And a prominent pair of horns recalls the sound of Haydn's divertimenti for wind ensemble. Duration: approx. 6:00. Written for an adult community band, this challenging arrangement is appropriate for a university, college, or community band, or an adventurous high school wind ensemble. The bassoon, English horn, and soprano saxophone parts are all fully cued to allow rehearsal or performance in the absence of any or all of them. Two strong horn players are essential; but the third and fourth horn parts are easier, and cued in trombones and euphonium. The bassoon parts use the tenor clef and ascend to a high B-flat; the second bassoon has only one 8-measure high passage that doubles the horns and can be omitted if necessary. The alternate versions of both bassoon parts use only bass clef but are otherwise identical. All essential bassoon passages are cued in saxophone and bass clarinet parts.Instrumentation: Piccolo / Flute 1-2 / Oboe / English Horn / Clarinet 1-2-3 / Alto Clarinet / Bass Clarinet / Bassoon 1-2 (and alternate parts using only bass clef) / Soprano Saxophone / Alto Saxophone / Tenor Saxophone / Baritone Saxophone / Trumpet 1-2-3 / Horn 1-2-3-4 / Trombone 1-2-3 / Euphonium / Baritone T.C. / Tuba / String Bass / Percussion (snare drum, crash cymbals) / Mallets (xylophone, bells) / TimpaniPlease visit my Web site to explore more classics for adventurous concert bands.
$45.00
41.14 €
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Concert band
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Franz Joseph Haydn
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Theme and Variations
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Ted R. Marcus
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SheetMusicPlus
Finnish National Anthem for String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik P…
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String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Praise & Worship,Traditional,World. 8 pages. Keith Terrett #811977. Published by Keith Terrett (A0.1511019). An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.Maamme (Finnish: [ˈmɑːmːe]) or Vårt land (Finland Swedish: [ˈvoːrt ˈlɑnːd]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min izāmō (My Fatherland).The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme Love anthems, then join me on twitter, facebook, instagram & soundcloud for updates.
$8.99
8.22 €
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Fredrik Pacius(1809-1891)
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Finnish National Anthem for String Orchestra
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Keith Terrett
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SheetMusicPlus
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
Soprano Saxophone and Piano
Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download
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Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Folk,Holiday,Romantic Period. Score and parts. 17 pages. Musik Fabrik Music Publishing #1986205. Published by Musik Fabrik Music Publishing (A0.533210). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (c was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time). He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Divertissement sur Une Ballade Irlandaise begins with a lyric introduction in bel canto style. The Irish Ballade is named in the score as « My Lodging is on the Cold Ground », but is sometimes known as « Believe Me If All Those Endearing Young Charms » and is followed by a brilliant variation. After an ornamented modal passage in 6/8, the allemande theme is presented first in a moderate tempo, and then in a more rapid variant which uses « cross string » figerations similar to those used by fiddlers.
$11.95
10.93 €
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Soprano Saxophone and Piano
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Ali Ben Sou Alle
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Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
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Musik Fabrik Music Publishing
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SheetMusicPlus
Ali Ben Sou Alle: Fantaisie sur La Favorita de Donizetti for alto saxophone and piano
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533348 Composed by Ali Be…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533348 Composed by Ali Ben Sou Alle, Gaetano Donizetti. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 23 pages. Musik Fabrik Music Publishing #2348199. Published by Musik Fabrik Music Publishing (A0.533348). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrotesongs while he was in London. His opera fantasies are usually written for the Alto saxophone. This particular fantasy usesthemes from the Third and fourth act sung by the hero et heroine which are marked in the score.
$11.95
10.93 €
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Alto Saxophone and Piano
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Ali Ben Sou Alle, Gaetano Donizetti
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Ali Ben Sou Alle: Fantaisie sur La Favorita de Donizetti for alto saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Ali Ben Sou Alle: Souvenirs du Cap Bonne Espérence Largo, Variations sur “The Irish Emigrant" et Pol
Soprano Saxophone and Piano
Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533351 Composed by Ali…
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Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533351 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 33 pages. Musik Fabrik Music Publishing #2363197. Published by Musik Fabrik Music Publishing (A0.533351). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Souvenirs du Cap Bonne Espérence (Souvenirs of the Cap of Good Hope) begins with a dramatic aria, perhaps evoking the trip to the Cap which was, in the 19th century, still very dangerous. The Irish folksong « the Irish Emigrant » is presented as a them and in two variations. Finally an extended polka in rondo form finishes the work brilliantly.
$19.95
18.24 €
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Soprano Saxophone and Piano
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs du Cap Bonne Espérence Largo, Variations sur “The Irish Emigrant" et Pol
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Musik Fabrik Music Publishing
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SheetMusicPlus
Spirits of Big Bend
Concert band
Concert Band - Level 5 - Digital Download SKU: A0.1177761 Composed by Dan Cook. Cla…
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Concert Band - Level 5 - Digital Download SKU: A0.1177761 Composed by Dan Cook. Classical,Contemporary,Contest,Festival,Instructional. Score and parts. 188 pages. Pecan Valley Music #777724. Published by Pecan Valley Music (A0.1177761). Grade 5Duration; 10:05I) Into the Chisos (3:15)II) Terlingua Nights (4:38)III) Red Ancho (2:12)Piccolo, Flutes 1 & 2, Oboes 1 & 2, Bassoons 1 & 2, Bb Clarinets 1, 2 & 3, Bass Clarinet, Alto Saxes 1 & 2, Tenor Sax, & Baritone SaxBb Trumpets 1, 2 & 3, Horns in F 1, 2 ,3 & 4, Trombones 1 & 2, Bass Trombone, Euphonium, & TubaTimpani, Chimes, Bells, Vibraphone, Xylophone, & MarimbaSnare Drum, Bass Drum, Sus. Cymbal, Triangle, Vibraslap, (3)Tenor DrumsSpirits. According to the Editors of Encyclopædia Britannica, Chisos may be a Native American word meaning “ghost†or “spiritâ€. The Chizo Indians were a nomadic group that used to inhabit Northern Mexico and the Big Bend area of Texas. The Chisos Mountains are the only mountain range contained entirely within the boundaries of a national park.Spirits. The Terlingua Ghost Town was once the home of thousands of Mexican mercury miners. It is said that the spirits of those miners return to the Terlingua Cemetery annually during Dia de los Muertos to enjoy an evening of celebration and remembrance with their loved ones.Spirits. Red Ancho. A bowl of red. Each fall, hundreds of spirited culinary adventurers travel to the Big Bend area to extract magic and good times from dried, ruby-red chili pods.Big Bend National Park and the surrounding area is like no other place on Earth. The people who call this part of Texas home are also like no other. This piece is dedicated to all of them, past and present, and to the land they cherish.
$100.00
91.42 €
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Concert band
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Dan Cook
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Spirits of Big Bend
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Pecan Valley Music
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SheetMusicPlus
Ali Ben Sou Alle: Souvenirs d’Écosse Introduction, Variations sur "Charley is my darling" et Boléro
Soprano Saxophone and Piano
Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533349 Composed by Ali…
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Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533349 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 42 pages. Musik Fabrik Music Publishing #2348225. Published by Musik Fabrik Music Publishing (A0.533349). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.Souvenirs d’Ecosse begins with a classical aria which leads to theme and three variations on the Scottish song « Charley is my Darling », a ballade by Charles Gray (1782-1851). The work ends with a brillant and decidedly non-Scottish bolero, which was probably a piece that Soualle wrote while he was in Scotland.
$19.95
18.24 €
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Soprano Saxophone and Piano
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs d’Écosse Introduction, Variations sur "Charley is my darling" et Boléro
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Musik Fabrik Music Publishing
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SheetMusicPlus
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/
$30.00
27.43 €
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Choral SATB
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Stuart Brown
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An Omani Dance Suite - COMPLETE BUNDLE
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Stuart Brown Music
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SheetMusicPlus
Music Essences Vol.3 - Romantic Piano Ballads
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1414887 Composed by Alexander Holz.…
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Piano Solo - Level 3 - Digital Download SKU: A0.1414887 Composed by Alexander Holz. Arranged by ISBN 9783758499203, 8.3 x 11.7 inches, English, German. Film/TV,Instructional,Romantic Period,Standards,Wedding. Score. 27 pages. Alexander Holz #996635. Published by Alexander Holz (A0.1414887). Music Essences was inspired by the idea of developing a piano book that is not a school, but offers new pieces alongside the old classics. This allows you to expand your repertoire for any occasion. The title describes the pieces as very condensed musical ideas, or impressions. They can be musically unfolded and further developed. Expanded interpretations are also conceivable, both in terms of playing and instrumentation. Nocturne The piece is technically inspired by Frederic Chopin's Trois Nocturnes Op. 9 No. 2 in E flat major. Coloraturas are to be added independently by the performer in order to emphasize this character. In addition, the mood is blended with the tragic romanticism of Edward Elgar's Salut d'Amour op. 12.ExpressionThe two different parts at the beginning are later combined in a third Espressivo part, which is based on Ludwig van Beethoven's Piano Concerto No. 5, 2nd movement and picks up on its tender and intense mood.Sonata No. 2The variations are partly inspired by the A major Sonata K331 by Wolfgang Amadeus Mozart, while the trio was influenced by the mood of the Träumerei from Kinderszenen op. 15 by Robert Schumann.AnthemThe anthem refers to the movie Avengers: Endgame. The theme from The real Hero is basically recognizable in a modified form and tries to capture the unique emotional state of this film music of sadness, pride and honour.SerenadeFrom bar 5, the initially accompanying theme is joined by a second, which reinterprets Franz Schubert's Serenade No. 4, D957 and develops independently as it progresses. The themes merge from bar 55 and fully develop the melancholy character of the piece.
$10.95
10.01 €
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Piano solo
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Alexander Holz
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Music Essences Vol.3 - Romantic Piano Ballads
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Alexander Holz
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestra
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.66 €
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Orchestra
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Manuel de Espinosa de los Monteros (1730-1810)
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
For the Fallen (Choral suite - SATB, Piano)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1137248 Composed by John R…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1137248 Composed by John Ross. Classical,Patriotic. Octavo. 12 pages. John Ross #737448. Published by John Ross (A0.1137248). “For the Fallen†was written for Bec Beall and her choir “Lux Alba†and was premiered by them in 2019 at St Matthew’s Church, Albury, NSW, Australia. The words of this choral suite were written by the English poet Laurence Binyon in 1914, immediately after the Battle of Mons, where the British Expeditionary Force suffered a serious loss, soon after the start of World War I. The fourth verse (“They shall not grow old as we that are left grow oldâ€) has become known as the “Ode of Remembranceâ€, regularly recited at memorial services. This suite uses the words of the Ode for the first movement, with echoes of the bugle call “The Last Postâ€. The second movement, “They went with songs to the battle†portrays the soldiers as young men in fine fettle, physically and mentally fit for what lies ahead of them. The third movement, “As the stars that shall be bright as we are dust†compares the war dead to stars and constellations. They move “in marches upon the heavenly plainâ€. Will Longstaff’s painting “Menin Gate at Midnight†(reproduced on the cover of this score) movingly illustrates this concept, with ghostly soldiers marching by the Menin Gate at Ypres, Belgium. The work concludes with an alternate setting of the opening movement “They shall not grow oldâ€. A version of this suite with organ accompaniment is also available on this website.
$1.99
1.82 €
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Choral SATB
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John Ross
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For the Fallen
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John Ross
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SheetMusicPlus
For the Fallen (Choral suite - SATB, Organ)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1137245 Composed by John R…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1137245 Composed by John Ross. Classical,Patriotic. Octavo. 12 pages. John Ross #737445. Published by John Ross (A0.1137245). “For the Fallen†was written for Bec Beall and her choir “Lux Alba†and was premiered by them in 2019 at St Matthew’s Church, Albury, NSW, Australia. The words of this choral suite were written by the English poet Laurence Binyon in 1914, immediately after the Battle of Mons, where the British Expeditionary Force suffered a serious loss, soon after the start of World War I. The fourth verse (“They shall not grow old as we that are left grow oldâ€) has become known as the “Ode of Remembranceâ€, regularly recited at memorial services. This suite uses the words of the Ode for the first movement, with echoes of the bugle call “The Last Postâ€. The second movement, “They went with songs to the battle†portrays the soldiers as young men in fine fettle, physically and mentally fit for what lies ahead of them. The third movement, “As the stars that shall be bright as we are dust†compares the war dead to stars and constellations. They move “in marches upon the heavenly plainâ€. Will Longstaff’s painting “Menin Gate at Midnight†(reproduced on the cover of this score) movingly illustrates this concept, with ghostly soldiers marching by the Menin Gate at Ypres, Belgium. The work concludes with an alternate setting of the opening movement “They shall not grow oldâ€. A version of this suite with piano accompaniment is also available on this website.
$1.99
1.82 €
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Choral SATB
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John Ross
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For the Fallen
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John Ross
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SheetMusicPlus
Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
Soprano Saxophone and Piano
Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533493 Composed by Ali…
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Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533493 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 pages. Musik Fabrik Music Publishing #3000187. Published by Musik Fabrik Music Publishing (A0.533493). Souvenirs d’Île Maurice begins with a lyrical pastorale in 12/8 time which features chromatic harmonies in the piano. The Rondo section presents first a Waltz theme in minor mode and then reprises the pastorale theme which is then varied in several brilliant passages.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.
$11.95
10.93 €
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Soprano Saxophone and Piano
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Clementi - Allegro from Sonatina No.1 in C Major - Easy
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.1111243 Composed by Muzio Clementi.…
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Piano Solo - Level 1 - Digital Download SKU: A0.1111243 Composed by Muzio Clementi. Arranged by Piacere Music Sheets. Classical,Instructional,Standards. Score. 3 pages. Piacere Music Sheets #713524. Published by Piacere Music Sheets (A0.1111243). Opus/Catalog Number: Op.36, movement 1 Key/Tone: C major Movements/Sections: Allegro Year/Date of Composition: 1797 Difficulty:Â Grade 3/12 (Easy) Obs.: Included in 6 sonatinasThis Allegro is the first movement of this beautiful three movement sonatina, it has two themes: Theme 1: exposed in measures 1 to 7 and recapitulated in measures 24 to 30, both times in the main key of C Major Theme 2: exposed in the dominant key of G Major in measures 8 to 15 and recapitulated in the main key of C Major in measures 31 to 38. This arrangement contains the first movement only. You can order movements 2 (Andante) and 3 (Vivace) separately, or all of them together, if you want.
$3.95
3.61 €
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Piano solo
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Muzio Clementi
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Clementi - Allegro from Sonatina No.1 in C Major - Easy
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Piacere Music Sheets
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion (Mallet) Quartet
Percussion Ensemble
Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua …
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Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Slide Ride (A0.784338). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.57 €
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Percussion Ensemble
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion
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Slide Ride
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SheetMusicPlus
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
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2 Pianos, 4 hands
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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THREAD, Between the Octaves A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Ali Ben Sou Alle: Caprice sur "Jenny L'Ouvrière" for alto saxophone and piano
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533506 Composed by Ali Be…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533506 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 13 pages. Musik Fabrik Music Publishing #3002369. Published by Musik Fabrik Music Publishing (A0.533506). Jenny L'Ouvrière is a popular romance from 1845 with music by Étienne Arnaud and words by Emile Barateau. The song speaks of an hardworking weaver who is poor, but also courageous and good. The pastorale-like theme is also presented in a more varied form.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that heconverted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. OnMarch 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.
$10.35
9.46 €
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Alto Saxophone and Piano
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Caprice sur "Jenny L'Ouvrière" for alto saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Best Hymns of All Time (for Strings) Book 2
String Quartet: 2 violins, viola, cello
String Quartet, String Orchestra, Playable by any size string ensemble - Early Inter…
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String Quartet, String Orchestra, Playable by any size string ensemble - Early Intermediate - Digital Download Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise & Worship, General Worship. Score, Set of Parts. 59 pages. Published by Colin Kirkpatrick Publications
The Best Hymns of All Time<br> Arranged for strings by Colin Kirkpatrick<br> <br> Book 2<br> <br> We’re really excited to present our collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of stringed instruments: string quartet or quintet or any size string ensemble. They are presented in a set of three books and include full four-part instrumental scores plus four separate parts for 1st violin, 2nd violin, viola and cello (and double bass). The double bass part is optional because it doubles the cello part an octave lower. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. The piano part too means that you can use the arrangements as solos, duets or trios. To make the music accessible to less experienced players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position. However, to produce a brighter and richer sound, a few of the more experienced violinists could play an octave higher. You can hear this effect in the audio samples.<br> <br> These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The scores and all the parts of Book 2 are contained in a single 59-page PDF file.<br> <br> Book 2 contains the following twenty popular hymns: A Mighty Fortress is our God (Ein Feste Burg); Awake my Soul (Morning Hymn); All Creatures of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Angels we have Heard on High (Gloria); Be thou my Vision (Slane); Come Thou Font of Every Blessing (Nettleton); Eternal Father, Strong to Save (Melita); God moves in a Mysterious Way (London New); Glory to Thee, My God, This Night (Tallis Canon); How Sweet the Name of Jesus Sounds (St. Peter); Immortal, Invisible, God Only Wise (St. Denio); Onward, Christian Soldiers (St. Gertrude); Let us with a Gladsome Mind (Monkland)<br> Love Divine, All Loves Excelling (Beecher); Praise my Soul, the King of Heaven (Lauda Anima); The Day Thou Gavest (St. Clement); The King of Love my Shepherd is (St. Columba); We Plough the Fields and Scatter (Wir pflügen); Lead Us, Heavenly Father, Lead Us (Mannheim).<br> <br> The audio samples include Angels we have Heard on High (Gloria); Be Thou my Vision (Slane) and Onward, Christian Soldiers (St. Gertrude). The music has been set in string-friendly keys so most of them are not compatible with the brass collection of the same name.
$25.99
23.76 €
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String Quartet: 2 violins, viola, cello
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Various
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Worship, General Worship
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!'
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.596525 Composed by Juan MarÃa So…
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Piano Solo - Level 4 - Digital Download SKU: A0.596525 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary,Latin. Score. 7 pages. Juan Maria Solare #3621769. Published by Juan Maria Solare (A0.596525). The piano piece Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!' was composed in Bremen, Germany, in August 2018, for the project 45miniatures by pianist Nick Phillips. The overall character of this piece responds vaguely to Nicholas Phillips' suggestion: playful/childish outbursts, in the form of heckler chords or bad hombre-like non-chord tones. The title depicts a surrealistic, clownesque, ridiculous situation; a dream for some and a nightmare for others.For those totally unaware: the expression Bad Hombres was used by president Donald Trump during the third 2016 United States Presidential Debate. While answering a question about his immigration policy, Donald Trump stated that there were a lot of drug lords in the United States and that they needed to be removed. He concluded his comment by saying we have some bad hombres here and we have to get them out. (thus implying that the responsible of US' drug problems are Latinos)Character and moods: happy, merry, mysterious. About the performance All the piece consists of mini clusters (two minor seconds). The notation can be sometimes obscure (due to the many unavoidable accidentals). To facilitate the reading (deciphering) of the score, the easiest is to follow the highest note of each cluster: they usually form a simple chord. For instance, bar 17 is (melodically speaking) a F7 chord. Got it? L = Left Hand R = Right Hand The verbal comments along the music are not meant to be actually read aloud, but alla mente (like in some Satie's music). However, if you want to recite them at concert, go ahead.Juan MarÃa Solare (http://www.JuanMariaSolare.com)
$2.00
1.83 €
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Piano solo
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Juan MarÃa Solare
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Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!'
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Juan Maria Solare
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SheetMusicPlus
Blackadder Theme
Brass ensemble
Brass Ensemble - Level 4 - Digital Download SKU: A0.948762 By Howard Goodall. By Ho…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.948762 By Howard Goodall. By Howard Goodall. Arranged by Warren J. Wernick. Contemporary. Score and parts. 7 pages. Warren J Wernick #5713803. Published by Warren J Wernick (A0.948762). Blackadder is a series of four BBC One pseudohistorical British sitcoms, plus several one-off installments, which originally aired from 1983–1989. All television episodes starred Rowan Atkinson as the antihero Edmund Blackadder and Tony Robinson as Blackadder's dogsbody, Baldrick. Each series was set in a different historical period, with the two protagonists accompanied by different characters, though several reappear in one series or another, e.g., Melchett (Stephen Fry) and Lord Flashheart (Rik Mayall). The theme song is composed by Howard Goodall, an English composer of musicals, choral music and music for television. He also presents music-based programs for television and radio, for which he has won many awards. In May 2008, he was named as a presenter and Composer-in-Residence with the UK radio channel Classic FM. In May 2009, he was named Composer of the Year at the Classic BRIT Awards. Goodall said of the Theme, They asked me if I would have a go at the tune. With all of these things, although I do come up with my own ideas, you don't really come up with a good one unless you talk it through with them and the vision they've got. It was quite obvious, the historical approach they were going for. What's interesting is that the first series, the medieval one with 'Richard the Fourth', was much more filmic and much more historical. That's why we ended up with that tune. Whereas had the first series been the Elizabethan one, the theme would have been slightly gentler, less heroic. .
$12.99
11.88 €
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Brass ensemble
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Howard Goodall
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Blackadder Theme
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Warren J Wernick
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SheetMusicPlus
CONJUNCTION: The Christmas Star of 2020
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
86.85 €
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Orchestra
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
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SheetMusicPlus
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