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That's My Mom!
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33 sheet music found
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1
26
Open My Eyes That I May See
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Piano solo
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ADVANCED
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Clara H
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Paul Thurmond
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Open My Eyes That I May See
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.828237 Composed by Clara H. Scott. Arranged by Paul Thurmond. 20th Century,Christian,Romantic Period,Sacr...
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Piano Solo - Level 5 - Digital Download SKU: A0.828237 Composed by Clara H. Scott. Arranged by Paul Thurmond. 20th Century,Christian,Romantic Period,Sacred. Score. 6 pages. Paul Thurmond #4968993. Published by Paul Thurmond (A0.828237). Tune: OPEN MY EYESUse: PreludeFranz Liszt was a 19th-century Hungarian pianist, composer, and teacher. His virtuosity as a performer led him to compose piano works that make extreme demands on the player. One really cool technique he used begins with a rolling arpeggio over two octaves that is passed from hand to hand. After that groove is set up, a melody enters above the arpeggios. The notes of the melody are played by whichever hand isn’t busy at the moment, usually by the left and right hand alternately. This means that half the melody notes are played by the left hand quickly crossing over the right. It can sound to the listener as though the pianist has three hands!I’ve always liked playing pieces that make use of this mechanic, so I decided to write one of my own. It's challenging, but a lot of fun to play.
$4.99
Even In The Quietest Moments
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Choral SATB
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ADVANCED
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Supertramp
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Kirstie Smith
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it just flowed out of me
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Even In The Quietest Moments
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Kirstie Smith
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1490292 By Supertramp. By Rick Davies and Roger Hodgson. Arranged by Kirstie ...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1490292 By Supertramp. By Rick Davies and Roger Hodgson. Arranged by Kirstie Smith. 20th Century,Contest,Festival,Folk,Rock,Spiritual. 17 pages. Kirstie Smith #1067132. Published by Kirstie Smith (A0.1490292). A wholly unique choral arrangement of Supertramp's 'Even In the Quietest Moments', from the album of the same name.A beautiful song lovingly crafted for SATB divisi and piano, featuring advanced vocal techniques and improvisational elements with an uplifting Gospel style coda. Composer Roger Hodgson stated on his Facebook page [24 March 2020] Even in the Quietest Moments was written during a very powerful time of Spiritual searching and discovery for me. I used to spend time alone in nature, camping, and one night while playing my guitar and looking up at the stars, the song came to me; it just flowed out of me. It’s a love song to God but it could also be to a woman. I’ve left it ambiguous so that people can take it how they wish. Basically, it’s just about a guy who’s searching. I’m a seeker. I think I’ll always be a seeker. The change of wording from 'Come on, let the sun' to 'The morning sun' is deliberate, based on singing wrong words to the album track as a child!
$3.25
You Raise Me Up - Advanced Piano Solo
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Piano solo
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ADVANCED
#
Rock
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Josh Groban, Josh Groban &
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The African Children'
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You Raise Me Up - Advanced Pia
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Elena Fortin
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SheetMusicPlus
Piano Solo - Advanced - Digital Download By Josh Groban, Josh Groban & The African Children'S Choir, Secret Garden. Arranged by Arranged by El...
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Piano Solo - Advanced - Digital Download By Josh Groban, Josh Groban & The African Children'S Choir, Secret Garden. Arranged by Arranged by Elena Fortin. Sheet Music Single. 5 pages. Published by Elena Fortin
You Raise Me Up - Advanced Piano Solo
Arranged by Elena Fortin
Music and Words by Brendan Graham & Rolf Lovland
This year, I am continuing to arrange songs that I consider to be important. In order to fit my criteria for arranging, I look for pieces that have stood the test of time, are uplifting, and can be used in many different situations. This one is a favourite of my Mom's so it went on my "To Do list" quite a while ago.
I decided to dedicate it to my Mom and Dad, for giving into my pleadings for music lessons and supporting me all these years.
The arrangement is written for an advanced player because the left hand can be quite challenging. There are many giant leaps and arpeggios all over the piano, including some challenging chord changes and full chords in the right hand. The piece starts in E flat major, but transitions to a F major finish. Each repetition of the melody is changed slightly--there is a challenging section near the end which brings out the melody in a thunderous full arrangement which is really fun to play. Rather than bringing everything to a crashing end though, I moved the melody into a sweet treble that signals a quiet, peaceful ending.
I hope you will enjoy playing this arrangement!
$4.99
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Piano Trio No. 1 "Poets and Pr
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Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
#
Mark O'Connor
#
Piano Trio No. 1 "Poets and Pr
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
#
Mark O'Connor
#
Piano Trio No. 1 "Poets and Pr
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
Sonata No. 6 "Kharkiv", Op. 48
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Guitar
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ADVANCED
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Classical
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published b...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95
Kids in the Corner
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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ADVANCED
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Matthew Nunes
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Kids in the Corner
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Matthew Nunes Music
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1263847 Composed by Matthew Nunes. Chamber,Classical,Hip-Hop,Pop,R & B,Rock...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1263847 Composed by Matthew Nunes. Chamber,Classical,Hip-Hop,Pop,R & B,Rock. 107 pages. Matthew Nunes Music #856760. Published by Matthew Nunes Music (A0.1263847). Listen to this piece hereKids in the Corner is a piece especially composed for Thomas Smith, a family friend and former trumpeter, as a personal thank you for his generous donation to my “ Get Matt to Maryland†Rally via rally.org.With this work I aimed to explore some dance styles that don’t tend to be invited to other suites. I wanted to challenge myself with these various styles while infusing the quirkiness of Thomas into the heart of the piece.I. HipThis summer I was able to pass through New York City on my way to a graduate school audition. On the train ride there I ended up next to a kid who was grooving to music I could hear snippets of through his headphones. This movement reflects characteristics of the sounds I heard on my way into the city.II. One for the lovebirds…It’s time to cuddle up next to your partner and take a trip down memory lane. This movement is an ode to the slow songs one may have experienced from a dance in the 1950’s.III. SwungFor quite some time I have been intrigued with early instrumental dances and this movement explores their defining characteristics while hinting at this work’s overall structure.IV. Posh, Prim, and ProperThis axiomatic propinquity of the Minuet and Trio is a coruscating combination of tonal and temporal creation. A suite as brilliant as this is but an inchoate one without homage to music’s finest moment. It is propitious that I elucidated an exposition featuring a Bach cello suite with motives from the Brahms Requiem in fugal counterpoint set against themes by Mahler.V. JigA trumpet player I was performing with was warming up before a concert and cascading a peculiar series of long tones in to the hall. After he finished I approached him and asked him what he was playing. What he revealed to me was hilarious and this movement is homage to that occurrence.- Matthew NunesWindsor, December 2014.
$24.99
Estrellita
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Piano solo
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ADVANCED
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Liberace
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Timothy Stapay
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Estrellita
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1215199 By Liberace. By Manuel Ponce. Arranged by Timothy Stapay. Film/TV,Folk,Singer/Songwriter,Standard...
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Piano Solo - Level 5 - Digital Download SKU: A0.1215199 By Liberace. By Manuel Ponce. Arranged by Timothy Stapay. Film/TV,Folk,Singer/Songwriter,Standards,Traditional. Score. 8 pages. Timothy Stapay #812071. Published by Timothy Stapay (A0.1215199). This is an arrangement of the traditional Mexican folk song, Estrellita as played by piano artist, Liberace. This is from a very early and rare album called Songs My Mother Taught Me.Tender, romantic, and so elementally lovely that it seems we have carried this melody inside us all our lives — that’s Estrellita, the “little star†that is surely one of the most popular songs in the world. Estrellita was composed by Manuel Ponce, a 20th-century Mexican composer, who grew up in a musical family and received his musical training from his parents. It is the single work for which he is best known.According to widely accepted tradition, the ineffably lovely melody of Estrellita came to Ponce in a burst of romantic inspiration in a quiet moment as he beheld his wife.Lyrics:Little star, of the distant sky,you see my pain, you know my suffering.Come down and tell me if you love me stillbecause sad alone is this heartthat asks for love from you. You are my star, a beacon of love.You alone can give light to the heart.Little star, tell me you still love mebecause sad alone is this heartthat desires love from you.  You are my star, a beacon of love.You alone can give light to the heart.Little star, tell me you still love mebecause sad alone is this heartthat desires love from you.
$7.99
Wrecking Ball
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Pop music
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Miley Cyrus
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Kyle Pudenz
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Wrecking Ball
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ViolinVagabond Music
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarb...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan Richard Moccio. Arranged by Kyle Pudenz. Contemporary,Pop. Score and parts. 34 pages. ViolinVagabond Music #5310843. Published by ViolinVagabond Music (A0.845973). Why settle for a bland transcription of Hannah Montana when you can have an action-packed, thrill-filled arrangement that's ALMOST as crazy as Miley Cyrus!? (almost)You've heard the song. You've seen the video. Whether or not you're a Miley super fan, you get the hype and that's why you're here. So take that hype to the next level with a chart that will make your audience go what on earth just happened? the same way Miley does on at least a bi-annual basis. By the way, I'll tell you what just happened: your quartet just came in like a wrecking ball, and smashed every archaic stereotype about classical string players to PIECES!!Gone are the days of strings not being able to feel the groove. Silenced are the cynics who once called us boring and one-dimensional. A new era is upon us, where violins, violas, & cellos can get up, get out, and rock the faces off of the proletariat right alongside our guitar slinging, drumstick twirling brethren! And this chart is just what you need to usher in this oh so bright future for all who rosin the bow:Right from the start, this arrangement takes a unique spin on Miley's pop smash, with a lopsided groove that will have your listeners searching frantically for a downbeat. Their urges will finally be satisfied when the melody takes us back to that oh-so-familiar feeling of 4/4 security... but don't get too comfortable, because when that chorus drops you'd better hold on to your hats. That's right, the train is leaving the station for double-time town! Along this musical journey, you may also encounter glimpses of reggae, jazz, & bluegrass, culminating in a race to the finish that will wre-e-eck any musician who didn't come ready to hang. Oh, and just for funsies I threw in that classic showbiz' moment where the cellist steals the melody, so feel free to ham that up as much as possible, cello players!This arrangement also makes use of modern extended string techniques in order to create rhythmic grooves without the need for additional instruments, including chopping and strum bowing. If you are unfamiliar with these concepts, various resources exist all over the internet to aid you in your quest towards having better time. I recommend this series, for example: https://youtu.be/kfX3kxjC93sPerformance time - 4:20... and if that doesn't make Miley Cyrus proud I don't know what will.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$17.99
All Creatures of Our God and King
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Handbells
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ADVANCED
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Alex Guebert
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Alex Guebert
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All Creatures of Our God and K
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, 5, 6, or 7 octaves handbells - Level 5 - Digital Download SKU: C7.CGB962 Composed by Alex Guebert. Arranged by Alex Guebert. General, Easter. Maste...
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3, 4, 5, 6, or 7 octaves handbells - Level 5 - Digital Download SKU: C7.CGB962 Composed by Alex Guebert. Arranged by Alex Guebert. General, Easter. Master Ringer. Score. 16 pages. Chorister's Guild - Digital #CGB962. Published by Chorister's Guild - Digital (C7.CGB962). UPC: 749193023969.Ring and Sing the Seasons is a reproducible collection comprised of both seasonal and general use hymn arrangements. The arrangements feature very simple rhythms and chords for handbells or handchimes, and unison vocal parts. Also included is an original processional, composed of layered ostinato patterns, with alternate texts for General, Christmas, Palm Sunday and Easter use. In her preface, Karen Lakey Buckwalter writes, Having served 38 years in full time music ministry, I realized some of the most joyful moments were convincing choirs of all ages that they could ring and sing simultaneously. One also has the option of having a soloist or vocal choir sing the hymn tune accompanied by the handbell or handchime choir. Separate vocal pages are included for the convenience of non-ringing singers. Contents: The Bells of Christmas; Christians, We Have Met to Worship; God, Who Made the Earth and Heaven; He Is Born; I Want Jesus to Walk with Me; Processional; That Easter Day with Joy Was Bright; This Is My Father's World.
$5.50
Anim Zemiros
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Choral SATB
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ADVANCED
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Stanley M Hoffman
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Stanley M Hoffman
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Anim Zemiros
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stanleymhoffman.com
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Ce...
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Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
$3.00
Other Echoes Inhabit the Garden
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Contemporary
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William Grosvenor Neil
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Other Echoes Inhabit the Garde
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Small Ensemble Bass Clarinet,Pipa - Level 5 - Digital Download SKU: A0.982536 Composed by William Grosvenor Neil. Contemporary. Score and parts. 41 pages...
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Small Ensemble Bass Clarinet,Pipa - Level 5 - Digital Download SKU: A0.982536 Composed by William Grosvenor Neil. Contemporary. Score and parts. 41 pages. TheComposerStudio.Com, LLC #6701343. Published by TheComposerStudio.Com, LLC (A0.982536). Other Echoes Inhabit the Garden (2009) for clarinet, bass clarinet, pipa, and erhu (score and parts) I composed this piece imagining myself in a garden of images, sonorities, and aromas that all merge in an idyllic moment in time. I have taken a line from one of T.S.Eliot’s poems in the Four Quartets, for my title, Other Echoes Inhabit the Garden. The poem, Burnt Norton, concludes with the poignant truth that humankind cannot bear very much reality. I often wonder whether my work as a composer really has any significance or meaning beyond helping my listeners temporarily escape their personal realities. In recalling Eliot’s line, What might have been and what has been/ point to one end, which is always present I am reminded that a melody, a single line of lyric pitch flow evokes memory in the mind of the listener and that rhythm and accent often draws our attention to the present moving towards the future. So, with these inherent powersof music in mind, it was my goal to create a piece of vibrant and engaging music that relentlessly draws the listener into the present moment. Eliot also alludes to a timeless merging of present and past in this poem. His line, then a cloud passed and the pool was empty brought back memories of being a child watching clouds almost unnoticeably move across the sky. I was similarly inspired to conclude Other Echoes Inhabit the Garden with music that evokes an ecstatic stillness tempered with a longing for the past. WGN
$35.00
A Week in November - Sally Whitwell
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Piano solo
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ADVANCED
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Contemporary
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Sally Whitwell
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A Week in November - Sally Whi
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Sally Whitwell
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by S...
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Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by Sally Whitwell (A0.873046). A Week in November… and what a week it was! It was the week of the US Presidential Election 2020. As I write these words, the absurdist tantrums of the Trump-Pence campaign versus the reasoned compassion of team Biden-Harris continues even well after the results have been called in the Democrats’ favour. There will not be the usual respectful concession speech and transition of power. I worry every day about how these next few months will be so very difficult, maybe even dangerous, for my American friends. Those convoys of flag waving Trumpists gleefully, openly, encouraged by their ‘leader’, attempting to block the democratic process was horrifying to witness. Was America on the brink of civil war? It still doesn’t seem far fetched to think that as I sit in my studio on the other side of the world, feeling helpless. The only thing I felt that I could do for my friends over there was to offer them a way to feel safe and loved in the moment, a bit of musical mindfulness. It was in this spirit that I wrote the second movement of this work, subtitled A Pocket Full of Calm. My excellent pianist friends Erica Sipes (USA) and Sandra Mogensen (Canada) adopted my little tune, recorded it on their social media to share said moment in the moment as it were. I hope it helped. I mean, if I can bring to even just one person some sense of calm solidarity, I’m happy with that. The fifth movement in the set, Victorious, resolute, but gracious, was a stream-of-consciousness creative response to the Biden Harris victory and the way they handled it so eloquently, so humbly, how they gave the world a sense of optimism once more. For a long while, I’d felt that I probably wouldn’t be welcome in America. As a mixed race, queer woman I was the antithesis of everything they valued. But now, people like me over there can feel human again. The relief! As for the other days of that week in November, they are part of a continuing series of daily composition exercises I started back in October in an effort to end a lengthy period of pandemic-induced creative block. Using a combination of exercises from Music Composition Toolbox (Barbeler/Blom/Hindson) and Brian Eno’s Oblique Strategies I’ve been able to find my creativity again. Starting a composition ‘habit’ is the best thing I’ve done for my writing all year and is how I mean to continue for a long time. Sally Whitwell12 November 2020
$15.00
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publish...
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Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
Crow with no mouth
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Piano, Voice
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ADVANCED
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Amos Elkana
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Crow with no mouth
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Amos Elkana
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1324262 Composed by Amos Elkana. 21st Century,Contemporary. Score. 10 pages. Amos Elkana #912460. ...
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1324262 Composed by Amos Elkana. 21st Century,Contemporary. Score. 10 pages. Amos Elkana #912460. Published by Amos Elkana (A0.1324262). In this composition, we delve into the enigmatic world of Ikkyu Sojun, a 15th-century Zen Buddhist monk renowned for his poetry that defies conventional boundaries. Ikkyu's work often reflects Zen principles, blending deep philosophical insights with a stark, often provocative simplicity. Among his most striking poems is Crow with No Mouth, a piece that captures the essence of Zen’s emphasis on the ineffable nature of reality and the limits of language.Crow With No Mouth Hearing a crow with no mouthCry in the deepDarkness of the night,I feel a longing forMy father before he was born. In these lines, Ikkyu conjures an image that is as perplexing as it is profound. The crow, a traditional symbol of mystery and the unknown, is rendered even more inscrutable by its lack of a mouth - a paradoxical figure that seems to transcend ordinary existence. This poem encapsulates the Zen concept of mu, or the negation of fixed concepts, challenging the listener to embrace the boundless nature of understanding.In my composition, I have strived to translate this philosophical depth into music. The interplay between the piano and the voice is crafted to reflect the paradoxical imagery of the poem. The music moves through moments of tension and release, mirroring the poem’s journey from perplexity to a serene acceptance of the unknown.This piece is an invitation to explore the spaces between notes, between words, where the essence of understanding might lie.The emotional core of this composition is also deeply personal. It resonates with my own longing for my father, who passed away seven years prior to the creation of this work. Just as Ikkyu's poem reflects a yearning for a connection with the past, this music embodies my own journey of grief, memory, and the search for peace in the echoes of loss. The intertwining of my personal narrative with Ikkyu’s profound words aims to offer a universal contemplation on the themes of absence, longing, and the ephemeral nature of existence.In creating this work, my aim has been to offer not just a musical experience, but a doorway into the profound simplicity of Zen thought. Through the synthesis of voice, piano, and Ikkyu's evocative poetry, we embark on a journey that transcends the mere act of listening, inviting contemplation, and perhaps, a glimpse into the boundless sky of our own perception.
$8.00
Pootlin' in Bootle
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Piano solo
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ADVANCED
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Mel Stallwood
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Pootlin' in Bootle
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Mel Stallwood
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.903598 Composed by Mel Stallwood. Jazz,Ragtime,Standards,Traditional. Score. 7 pages. Mel Stallwood #3549...
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Piano Solo - Level 5 - Digital Download SKU: A0.903598 Composed by Mel Stallwood. Jazz,Ragtime,Standards,Traditional. Score. 7 pages. Mel Stallwood #3549739. Published by Mel Stallwood (A0.903598). This piece would be a delight for a piano recital audience combining several popular piano styles from J.S. Bach to Zez Confrey. I have no idea why I came up with this title. I can’t remember ever going to Bootle. Not sure where it is although I think IRS is probably involved. Should of called it ‘Put the Boot in in Bootle’. My wife uses the word ‘Pootling’ and ‘Pootle’ a lot when we are driving, maybe thats it! The bit from J.S.Bach flute suite in the middle is my most obvious plagiaristic moment ever!
$3.99
Bokeh - A Trio for Oboe/English Horn, Cello and Piano
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Contemporary
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Brian Strohmetz
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Bokeh - A Trio for Oboe/Englis
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Brian Strohmetz
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SheetMusicPlus
Cello,English Horn,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.1020744 Composed by Brian Strohmetz. Contemporary. 22 pages. Brian Stroh...
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Cello,English Horn,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.1020744 Composed by Brian Strohmetz. Contemporary. 22 pages. Brian Strohmetz #5299807. Published by Brian Strohmetz (A0.1020744). Time: 4min Instrumentation: Solo Oboe/English Horn, Solo Cello, Piano Accompaniment Program Notes: The definition of Bokeh according to Merriam-Webster Dictionary; the blurred quality or effect seen in the out-of-focus portion of a photograph taken with a narrow depth of field. It wasn’t until I set out to write this piece that I did research on one of my favorite photographic techniques. I always called bokeh those cool looking out of focus lights. Once I learned the techniques name, my fascination with it grew. In my research, I found that the photographs I was drawn to the most were those of out of focus city lights, and out of focus Christmas lights. One had a frantic beauty, the other a more calming comforting beauty. All beautiful in their own unique way. I wanted to capture in music what the photographer captured in film. To capture a certain kinetic electric energy. To capture a certain kind of momentary beauty. To see through music the photographers eye. To find more of Brian Strohmetz's Compositions and Arrangements or to contact Brian, visit www.brianstrohmetz.com.Â
$14.99
Poem For Carlita (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202197. Published by Mark O'Connor Musik International (A0.861805). Poem For Carlita (viola part – vln, vla, cel) MO142CViola Part (score and parts available)Music by Mark O’Connor6 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used tocalm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142CCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Poem For Carlita (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202181. Published by Mark O'Connor Musik International (A0.861803). Poem For Carlita (violin part – vln, vla, cel) MO142BViolin Part (score and parts available)Music by Mark O’Connor7 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142BCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
Poem For Carlita (cello part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Poem For Carlita
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202205. Published by Mark O'Connor Musik International (A0.861806). Poem For Carlita (cello – vln, vla, cel) MO142DCello Part (score and parts available)Music by Mark O’Connor15 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and it’s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1998 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142DCopyright © 1998 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50
All The Things You Are
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Piano solo
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ADVANCED
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Jazz
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Jack Leonard with Tommy Dorsey
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Timothy Stapay
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All The Things You Are
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1237260 By Jack Leonard with Tommy Dorsey Orchestra. By Jerome Kern and Oscar Hammerstein. Arranged by Ti...
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Piano Solo - Level 5 - Digital Download SKU: A0.1237260 By Jack Leonard with Tommy Dorsey Orchestra. By Jerome Kern and Oscar Hammerstein. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 8 pages. Timothy Stapay #832776. Published by Timothy Stapay (A0.1237260). This arrangement of All The Things You Are is written as performed by piano artist, Liberace. It has an extended introduction based up the theme from Rachmaninoff's 2nd Piano Concerto.All the Things You Are is a song composed by Jerome Kern with lyrics written by Oscar Hammerstein II.The song was written for the musical Very Warm for May (1939)and was introduced by Hiram Sherman, Frances Mercer, Hollace Shaw, and Ralph Stuart. It appeared in the film Broadway Rhythm (1944) when it was sung by Ginny Simms, and again in the Kern biopic Till the Clouds Roll By (1946), sung by Tony Martin.Popular recordings of the song in 1939 were by Tommy Dorsey and His Orchestra (vocal by Jack Leonard), Artie Shaw and His Orchestra (vocal by Helen Forrest) and Frankie Masters and His Orchestra (vocal by Harlan Rogers). The song has been recorded by a plethora of artists. It is considered a jazz standard.Lyrics:Time and again I've longed for adventure Something to make my heart beat the faster What did I long for? I never really knew Finding your love I've found my adventure  Touching your hand, my heart beats the faster  All that I want in all of this world is you  [Chorus:]  You are the promised kiss of springtime  That makes the lonely winter seem long  You are the breathless hush of evening  That trembles on the brink of a lovely song You are the angel glow that lights a star The dearest things I know are what you are  Some day my happy arms will hold you  And some day I'll know that moment divine When all the things you are, are mineWładziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
$8.99
Fastnet Rock
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Flute and Piano
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ADVANCED
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Contemporary
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
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SheetMusicPlus
Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168...
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Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
$2.99
Pluck for guitar
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Guitar
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ADVANCED
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Contemporary
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Robert M
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Pluck for guitar
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Robert M. Greenberg
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #11...
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Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #115407. Published by Robert M. Greenberg (A0.987853). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1996 Program Note: I. Toccata/Hands of Steel II. Strum/Serenade III. O Tanenbaum (Toccata reprise) IV. Two-Part Contention V. John Doe VI. True Pluck A number of years ago, the great English guitarist Julian Bream told David Tanenbaum - the dedicatee of tonight's premiere - not to premiere a guitar work unless he knew for a fact it was the composer's second guitar work. Sage advice. The guitar is an instrument that gives up its secrets to a non-guitar playing composer only reluctantly. Indeed, the timbral, digital and chordal subtleties of this most subtle and intimate instrument are truly understood by the guitarist only. Pity the outlander who composes for the guitar for the first time! With this last thought in mind I had, until last fall, managed to avoid writing a guitar piece. However, even the most abject compositional coward will relent when a musician like David Tanenbaum asks for a piece and offers his assistance and critical judgement in its composition. So it was with PLUCK, composed between November of 1995 and January of 1996. Bream's advice notwithstanding, PLUCK is my first guitar piece. Tanenbaum is brave. The title, PLUCK, thus refers to both the action of plucking strings as well as pluck - bravery, grit, true grit. PLUCK is written in six interrelated movements. The first movement, Toccata/Hands of Steel introduces much of the essential pitch and harmonic material of the piece, as well as Flamenco-style rasgueado strumming which, try as I might, I could not resist using. Movement two, Strum/Serenade, explains itself in its title. Movement three, O Tanenbaum (a designation for which David has forgiven me) reprises the Toccata and describes, well, a sort of musical tree (David has forgiven me for this, too). Two-Part Contention is a combatative, argumentative movement that pits the treble strings of the guitar against the bass. Movement 5, John Doe is a lyric and mysterious moment of rest before the manic finale. Movement 6, True Pluck, is a fast, furious and virtuosic finale. PLUCK is dedicated, with greatest respect and affection, to my friend David Tanenbaum. May he only want to play my second guitar piece.
$16.00
Miscellany, 7 Short Movements For Piano Solo
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Piano solo
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ADVANCED
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PIano - Sebastian Kurz
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Miscellany, 7 Short Movements
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Geraldine
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporar...
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Piano Solo - Level 5 - Digital Download SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00
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