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A Gale in Time
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A Gale in Time
Sheetmusic to print
67 sheet music found
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1
26
51
A Gale in Time
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Handbells
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EASY
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Kevin D
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A Gale in Time
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GreenFlash Productions
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SheetMusicPlus
Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1024440 Composed by Kevin D. Cornwell. 20th Century,Christian,Sacred. Score and ind...
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Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1024440 Composed by Kevin D. Cornwell. 20th Century,Christian,Sacred. Score and individual part. 22 pages. GreenFlash Productions #6079375. Published by GreenFlash Productions (A0.1024440). A sudden Gale has burst upon the fabric of time. History is reaching its climax. A fast pace that uses repeated notes and broad scoring makes for a rich sound that is deceptively simple to play. The only special technique is mallets and a fairly short but sweet solo section in the middle. The piano part is a bit more demanding than the handbells part. It is readily playable by a well-trained elementary school handbell choir and director-pianist.This purchase includes the score, piano part, and handbells part. It is sold as a Master License which allows the original purchaser to make as many copies as they need for handbell groups for which they are the active conductor.
$19.99
The Four Seasons in the Basque Country
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Concert band
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Gregory Fritze
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The Four Seasons in the Basque
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Musica Nova USA
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6...
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Concert Band - Digital Download SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida
$100.00
A Day on Hellroaring Plateau
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Concert band
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INTERMEDIATE/ADVANCED
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Robert Myers
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A Day on Hellroaring Plateau
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WheatMyer Music
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.976732 Composed by Robert Myers. 20th Century,Contemporary,Folk. Score and parts. 186 pages. WheatMyer ...
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Concert Band - Level 4 - Digital Download SKU: A0.976732 Composed by Robert Myers. 20th Century,Contemporary,Folk. Score and parts. 186 pages. WheatMyer Music #6252911. Published by WheatMyer Music (A0.976732). A Day on Hellroaring Plateau for Concert Band or Wind SymphonyDownload includes transposed score and all parts.Difficulty is Grade 5.Duration is approximately 9:30.Preview the entire score at https://wheatmyermusic.com/product/a-day-on-hellroaring-plateau/The Hellroaring Plateau is a landmass on the northeast extremity of the Absaroka mountain range straddling the Montana-Wyoming border. Its relatively flat topography and high elevation lead to intense winds and unpredictable storms bestowing the plateau's colorful moniker. Contrary to the title, the music reflects a compilation of impressions from multiple visits over a decade’s time, gathered with my son’s first-hand reports of overnight stays, rather than a single day’s experience. My original objective for the music was to portray the stark and stony landscape alternatively caressed and buffeted in a stew of breezes and gales, sunshine and storms. However, as I was writing the piece it became apparent the true theme of the music is rather a daily high-altitude drama pitting light versus darkness, a drama staged on the plateau’s rocks, meadows, streams, and lakes depicting a perpetually shifting kaleidoscope of distinctive lighting unlike any I have experienced elsewhere. The transparent, thin air reveals indigo blue skies and scalding-white clouds overarching stunning vistas stretching a hundred miles or more. The landscape glitters under the radiance of high latitude sunlight. The only word I can think of to describe the golden glow of sunbeams slicing through a summer snow squall is ethereal. The utter absence of artificial light makes for the darkest night skies and brightest stars one can experience on earth.
$125.00
Hands Of Time
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Choral TTBB
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INTERMEDIATE
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Alan Bergman, Marilyn Bergman,
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Rick Windley
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Hands Of Time
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RockWind Music, LLC
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1151602 Composed by Alan Bergman, Marilyn Bergman, and Michel Legrand. Arranged by Rick Windley....
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1151602 Composed by Alan Bergman, Marilyn Bergman, and Michel Legrand. Arranged by Rick Windley. 20th Century,Contemporary,Film/TV,Standards,Wedding. Octavo. 4 pages. RockWind Music, LLC #751794. Published by RockWind Music, LLC (A0.1151602). This is a TTBB quartet and/or TTBB chorus arrangement of the main theme from the television production of The Hands of Time - the story of the friendship between two college football players - Gale Sayers and Brian Piccolo. The lyric and music are inspirational and are set in this arrangement with men's voices and piano accompaniment. Guitar chords are also shown. This lush arrangement captures the emotional and soaring feelings of the friendship and tragic relationship between these two athletes. A great arrangement for your program or concert.
$1.99
Calvary is Far Away, a sacred hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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whom the Lord was slain
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Kevin G
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Calvary is Far Away, a sacred
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1096104 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Praise & Worship,Sacred,Spiritu...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1096104 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Praise & Worship,Sacred,Spiritual. Octavo. 3 pages. Kevin G. Pace #700054. Published by Kevin G. Pace (A0.1096104). A beautiful sacred hymn of the Savior. Music by Kevin G. Pace. Text by Mark R. Fotheringham. Text: Calvary is far away On a little hill, Where the Son was crucified To fulfill God's will. Rock and stone washed clean with time No longer bear the stain Of blood our Savior shed for man, By whom the Lord was slain. Nature wept to hide the deed. Wind would scour His pain, To leave behind a promise true That we shall live again. Far too is Gethsemane, Hidden 'midst the trees, Where he suffered for our sins, Fallen on His knees. There he drank the bitter cup, With none His pain to ease. The garden mutely heard His groans Dispersed upon the breeze. Ev'ry bough in reverence bent To His grief unseen, In honor of His sacrifice, That man could now be clean. Christ is not so far away, Nor His loving care. All creation sings His praise, Knowing He is there. See Him in each blooming flower, In rivers streaming by. Then feel Him in each mighty gale, Each snowflake in the sky. Glory Lord is thine alone. Earth still sings Thy fame, 'Til all shall bow before Thy throne, Remembering Thy name.
$1.99
Decatur's Victory. A Favorite New Song
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Piano, Voice
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W
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Decatur's Victory. A Favorite
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.21287 Composed by W. Strickland. War of 1812, Patriotism, Campaigns & battles, Seamen, Naval warfare. Lester S...
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Piano and voice - Digital Download SKU: LV.21287 Composed by W. Strickland. War of 1812, Patriotism, Campaigns & battles, Seamen, Naval warfare. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.21287). Decatur's Victory. A Favorite New Song. Written by W. Strickland. Published [n.d.] by J. Wilson, No. 62 Broadway in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include War of 1812, Patriotism, Campaigns & battles, Seamen, Naval warfare. First line reads On a cruize we set sail, with a prosperous gale, our hearts full of courage and true.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
The Homebound Whaleman. A Song
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Piano, Voice
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T
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The Homebound Whaleman. A Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.12035 Composed by T. Bricher. Clipper ships, Moonlight, Clouds, Fishermen, Sailors, Homecomings. Lester S. Lev...
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Piano and voice - Digital Download SKU: LV.12035 Composed by T. Bricher. Clipper ships, Moonlight, Clouds, Fishermen, Sailors, Homecomings. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.12035). The Homebound Whaleman. A Song. Music composed by T. Bricher. Published 1844 by Keith's Music Publishing House, 67 & 69 Court Street in Boston. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Clipper ships, Moonlight, Clouds, Fishermen, Sailors, Homecomings. First line reads Blow on, blow on wild gale, my heart is bounding too.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
The Little Sailor Boy. A Favorite Ballad
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B
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The Little Sailor Boy. A Favor
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice; guitar - Digital Download SKU: LV.16050 Composed by B. Carr. Seamen, Families, Courtship & love, Homecomings. Lester S. Levy Collection....
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Piano and voice; guitar - Digital Download SKU: LV.16050 Composed by B. Carr. Seamen, Families, Courtship & love, Homecomings. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.16050). The Little Sailor Boy. A Favorite Ballad. Written by Mrs. Rowson. Composed by B. Carr. Published [1798?] by Printed and Sold at B Carrs Musical Repository in Philadelphia. Composition of strophic with piano and voice; Guitar instrumentation. Subject headings for this piece include Seamen, Families, Courtship & love, Homecomings. First line reads The sea was calm the sky serene and gently blew the castern gale.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
La cigale et la fourmi (The Grasshopper and the ant) French narrator, Clarinet, Bassoon and Piano
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August, word of animal,
Bo
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David Warin Solomons
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La cigale et la fourmi
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David Warin Solomons
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SheetMusicPlus
Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370906 Composed by David Warin Solomons. 21st Century,Contemporary. 18 pages. David Wa...
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Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370906 Composed by David Warin Solomons. 21st Century,Contemporary. 18 pages. David Warin Solomons #955248. Published by David Warin Solomons (A0.1370906). A setting of the La Fontaine poem La cigale et la fourmi with narrator (in French), clarinet, bassoon and pianoThe pdf file contains score and instrumental parts. The narrator should use the score.(A version with English narrator is also available on this site)La cigale, ayant chanté tout l’été,se trouva fort dépourvue Quand la bise fut venue.Pas un seul petit morceau De mouche ou de vermisseau.Elle alla crier famine Chez la fourmi sa voisine,La priant de lui prêter Quelque grain pour subsisterJusqu’à la saison nouvelle.“Je vous paierai,â€lui dit elle,“avant l’août,foi d’animal,Intérêt et principal.â€La fourmi n’est pas prêteuse;C’est là son moindre défaut.“Que faisiez vous au temps chaud?â€Dit elle à cette emprunteuse“Nuit et jour à tout venantJe chantais,ne vous déplaise.â€â€œVous chantiez?j’en suis fort aise.Eh bien!dansez maintenant.â€English translation by S N SolomonsThe Grasshopper in drowsy songHad spent the pleasant summer long,And found herself without a crumbWhen winter’s icy blast had come.Not one small morsel could she spyOf puny worm or measly fly.So off she went to cry her wantStraight to her neighbour Madame Ant,Merely asking for a loanOf bread or grain to eke her ownUntil the plenteous time came round.“I’ll pay you back, or I’ll be boundBy August, word of animal,Both interest and principal.â€The Ants are not a lending lotIndeed that is their slightest fault.“What were you doing when ’twas hot?â€She asked this impecunious sort.†To all who came, both day and nightI used to sing at every chance.â€â€œYou used to sing? That’s fine and right!Well now’s the very time – to dance!â€Â©S.N.Solomons.
$13.00
La Cigale et la Fourmi The Grasshopper and the Ant French narrator Clarinet Bassoon Piano (mp3)
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August, word of animal,
Bo
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David Warin Solomons
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La Cigale et la Fourmi The Gra
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David Warin Solomons
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SheetMusicPlus
Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370914 Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. ...
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Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370914 Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 189. David Warin Solomons #955258. Published by David Warin Solomons (A0.1370914). A setting of the La Fontaine poem La cigale et la fourmi with narrator (in French), clarinet, bassoon and piano(A version with English narrator is also available on this site)La cigale, ayant chanté tout l’été,se trouva fort dépourvue Quand la bise fut venue.Pas un seul petit morceau De mouche ou de vermisseau.Elle alla crier famine Chez la fourmi sa voisine,La priant de lui prêter Quelque grain pour subsisterJusqu’à la saison nouvelle.“Je vous paierai,â€lui dit elle,“avant l’août,foi d’animal,Intérêt et principal.â€La fourmi n’est pas prêteuse;C’est là son moindre défaut.“Que faisiez vous au temps chaud?â€Dit elle à cette emprunteuse“Nuit et jour à tout venantJe chantais,ne vous déplaise.â€â€œVous chantiez?j’en suis fort aise.Eh bien!dansez maintenant.â€English translation by S N SolomonsThe Grasshopper in drowsy songHad spent the pleasant summer long,And found herself without a crumbWhen winter’s icy blast had come.Not one small morsel could she spyOf puny worm or measly fly.So off she went to cry her wantStraight to her neighbour Madame Ant,Merely asking for a loanOf bread or grain to eke her ownUntil the plenteous time came round.“I’ll pay you back, or I’ll be boundBy August, word of animal,Both interest and principal.â€The Ants are not a lending lotIndeed that is their slightest fault.“What were you doing when ’twas hot?â€She asked this impecunious sort.†To all who came, both day and nightI used to sing at every chance.â€â€œYou used to sing? That’s fine and right!Well now’s the very time – to dance!â€Â©S.N.Solomons.
$5.50
The Grasshopper and the ant (La cigale et la fourmi) English narrator, clarinet, bassoon and piano
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August, word of animal,
Bo
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David Warin Solomons
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The Grasshopper and the ant
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David Warin Solomons
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SheetMusicPlus
Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370910 Composed by David Warin Solomons. 21st Century,Contemporary. 17 pages. David Wa...
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Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370910 Composed by David Warin Solomons. 21st Century,Contemporary. 17 pages. David Warin Solomons #955254. Published by David Warin Solomons (A0.1370910). A setting of the La Fontaine poem La cigale et la fourmi with narrator (in English), clarinet, bassoon and pianoThe pdf file contains score and instrumental parts. The narrator should use the score.(A version with French narrator is also available on this site.)The Grasshopper in drowsy songHad spent the pleasant summer long,And found herself without a crumbWhen winter’s icy blast had come.Not one small morsel could she spyOf puny worm or measly fly.So off she went to cry her wantStraight to her neighbour Madame Ant,Merely asking for a loanOf bread or grain to eke her ownUntil the plenteous time came round.“I’ll pay you back, or I’ll be boundBy August, word of animal,Both interest and principal.â€The Ants are not a lending lotIndeed that is their slightest fault.“What were you doing when ’twas hot?â€She asked this impecunious sort.†To all who came, both day and nightI used to sing at every chance.â€â€œYou used to sing? That’s fine and right!Well now’s the very time – to dance!â€Â©S.N.SolomonsOriginal French version:La cigale, ayant chanté tout l’été,se trouva fort dépourvue Quand la bise fut venue.Pas un seul petit morceau De mouche ou de vermisseau.Elle alla crier famine Chez la fourmi sa voisine,La priant de lui prêter Quelque grain pour subsisterJusqu’à la saison nouvelle.“Je vous paierai,â€lui dit elle,“avant l’août,foi d’animal,Intérêt et principal.â€La fourmi n’est pas prêteuse;C’est là son moindre défaut.“Que faisiez vous au temps chaud?â€Dit elle à cette emprunteuse“Nuit et jour à tout venantJe chantais,ne vous déplaise.â€â€œVous chantiez?j’en suis fort aise.Eh bien!dansez maintenant.â€.
$13.00
The Grasshopper and the Ant La Cigale et la Fourmi English narrator Clarinet Bassoon Piano (mp3)
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August, word of animal,
Bo
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David Warin Solomons
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The Grasshopper and the Ant La
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David Warin Solomons
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SheetMusicPlus
Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370915 Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. ...
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Bassoon,Clarinet,Piano,Voice - Level 4 - Digital Download SKU: A0.1370915 Composed by David Warin Solomons. 21st Century,Contemporary. Full Performance. Duration 189. David Warin Solomons #955259. Published by David Warin Solomons (A0.1370915). A setting of the La Fontaine poem La cigale et la fourmi with narrator (in English), clarinet, bassoon and piano(A version with French narrator is also available on this site.)The Grasshopper in drowsy songHad spent the pleasant summer long,And found herself without a crumbWhen winter’s icy blast had come.Not one small morsel could she spyOf puny worm or measly fly.So off she went to cry her wantStraight to her neighbour Madame Ant,Merely asking for a loanOf bread or grain to eke her ownUntil the plenteous time came round.“I’ll pay you back, or I’ll be boundBy August, word of animal,Both interest and principal.â€The Ants are not a lending lotIndeed that is their slightest fault.“What were you doing when ’twas hot?â€She asked this impecunious sort.†To all who came, both day and nightI used to sing at every chance.â€â€œYou used to sing? That’s fine and right!Well now’s the very time – to dance!â€Â©S.N.SolomonsOriginal French version:La cigale, ayant chanté tout l’été,se trouva fort dépourvue Quand la bise fut venue.Pas un seul petit morceau De mouche ou de vermisseau.Elle alla crier famine Chez la fourmi sa voisine,La priant de lui prêter Quelque grain pour subsisterJusqu’à la saison nouvelle.“Je vous paierai,â€lui dit elle,“avant l’août,foi d’animal,Intérêt et principal.â€La fourmi n’est pas prêteuse;C’est là son moindre défaut.“Que faisiez vous au temps chaud?â€Dit elle à cette emprunteuse“Nuit et jour à tout venantJe chantais,ne vous déplaise.â€â€œVous chantiez?j’en suis fort aise.Eh bien!dansez maintenant.â€
$5.50
Sonata #3 in A minor (Wind of Time)
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Piano solo
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Contemporary
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James Domine
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Sonata #3 in A minor
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Earth Music, Ltd.
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.976504 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 19 pages. Earth Music, Ltd. #2081589. Pu...
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Piano Solo - Digital Download SKU: A0.976504 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 19 pages. Earth Music, Ltd. #2081589. Published by Earth Music, Ltd. (A0.976504). The Piano Sonata #3 in A minor was written as an expansion of a rock song entitled Wind of Time, composed in 1973 when the composer was the lead guitarist with the Molay Band, a group that regaled the bars and frat parties of Westwood during those tumultuous years. The composer returned to the song in order to develop the harmonic peculiarities and improvisational qualities the Wind of Time theme offers. The tempo of the sonata is Allegro strepitoso, and is cast in one movement following the traditional sonata-allegro form. The opening theme is characterized by a sustained rhythmic ostinato that is elaborated with unresolved suspended 2nd and 4th harmonies. This is followed by a contrastingly lyrical passage that unfolds through a series of sequential gyrations. The development is a fantasia that employs improvisational techniques associated with rock music, and lends the piece a sense of freshness and spontaneity. The sonata returns in the recapitulation to the athleticism of the principal theme, concluding in a powerful unresolved suspension that seems to ask an unanswered question, the answer to which may someday be found in blowing on the Wind of Time. This sonata was first performed by fifteen-year old pianist Sarah Knauer in a contemporary music competition sponsored by the Music Teachers’ Association of California West San Fernando Valley Branch, in which she took first place. Ms. Knauer subsequently performed the piece in recital at Pierce College on April 13, 2008.
$8.95
Adagio and Allegro in F minor, K. 594
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Clarinet Quintet: 5 clarinets
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INTERMEDIATE/ADVANCED
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Classical
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Wolfgang Amadeus Mozart
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Chris Blankenship
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Adagio and Allegro in F minor,
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C Blankenship
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Clarinet - Level 4 - Digital Download SKU: A0.899605 Composed by Wolfgang Amadeus Mozart. Arranged by Chris Blankenshi...
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Woodwind Ensemble,Woodwind Quintet Clarinet - Level 4 - Digital Download SKU: A0.899605 Composed by Wolfgang Amadeus Mozart. Arranged by Chris Blankenship. Classical. 22 pages. C Blankenship #6203575. Published by C Blankenship (A0.899605). The piece was commissioned by Count Joseph Deym von Stritetz for use as a funeral mass to be played on a mechanical organ clock in the mausoleum for the recently deceased Generalfeldmarschall (Fieldmarshall) Ernst Gideon von Laudon, part of the Müllersche Kunstgalerie, the wax art gallery and organ museum of Joseph Müller (which was the Count Deym's assumed name). This displayed a casket covered with glass, through which one could view a wax figure of the Field Marshall. When the clock struck the hour, a lament was heard: a new one each week, one of which was Mozart's Adagio and Allegro.Although Mozart intended the piece to be played on a mechanical clockwork organ, he wished later that it could be played on a conventional organ. In a letter to his wife Constanze dated 3rd October, 1790, he wrote, If it were on a large clock-work with a sound like an organ, I'd be glad to do it; but as it is a thing made up of tiny pipes only, which sound too shrill and childish for me. As time passed, Mozart seemed to be content with the decision, saying later that the work and its installation in the gallery in fruitlessness and purity and compatibility to the works of art eclipses anything that anyone has ever succeeded in producing.
$9.99
Violin Concerto No.9 in G major, Op. 8 - Score Only
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String Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Chevalier de Saint-Georges
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Artaria Editions
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Violin Concerto No.9 in G majo
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Artaria Editions
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.961410 Composed by Chevalier de Saint-Georges. Arranged by Artaria Editions. Classical. Score and p...
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String Orchestra - Level 4 - Digital Download SKU: A0.961410 Composed by Chevalier de Saint-Georges. Arranged by Artaria Editions. Classical. Score and parts. 48 pages. Artaria Editions #6116087. Published by Artaria Editions (A0.961410). ScoreArtaria Editions AE237Edited by Allan Badley 44 pages In an age of remarkable individuals, Joseph Bologne, Chevalier de Saint-Georges, son of a French colonial planter and a beautiful Senegalese slave, occupied a unique position as an athlete, swordsman, military commander, huntsman, violin virtuoso, composer and conductor. Though written for his own use, the violin concertos are more than vehicles for mere virtuoso display. Lyrical expressive slow movements are flanked by often highly original outer movements, quite unlike anything being written at the time by Viennese composers such as Haydn, Hofmann and Dittersdorf. Had Mozart seen Saint-Georges play his brilliant concertos while he was in Paris in 1778, he would have heard many things in them to admire. Allan Badley.
$54.00
The Edmund Fitzgerald - Concerto for Piano and Strings
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String Orchestra
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ADVANCED
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Contemporary
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Geoffrey Peterson
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The Edmund Fitzgerald - Concer
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Geoffrey Peterson
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SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4...
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String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.
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Élégie
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Guitar
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INTERMEDIATE
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Contemporary
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Ypp...
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95
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
Back To The Future
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Concert band
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INTERMEDIATE/ADVANCED
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Film/TV
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Alan Silvestri
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Graham Boag
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Eric Stoltz was cast instead
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Back To The Future
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Graham Boag
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1081763 Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show...
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Concert Band - Level 4 - Digital Download SKU: A0.1081763 Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show. Score and parts. 187 pages. Graham Boag #685889. Published by Graham Boag (A0.1081763). Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis, and written by Zemeckis and Bob Gale. It stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Set in 1985, the story follows Marty McFly (Fox), a teenager accidentally sent back to 1955 in a time-traveling DeLorean automobile built by his eccentric scientist friend Doctor Emmett Doc Brown (Lloyd). Trapped in the past, Marty inadvertently prevents his future parents' meeting-threatening his existence-and is forced to reconcile the pair and somehow get back to the future. Back to the Future was conceived of in 1980 by Gale and Zemeckis. They were desperate for a successful film after numerous collaborative failures, but their idea was rejected over 40 times by studios because it was not considered raunchy enough to compete with the successful comedies of the era. A development deal was secured following Zemeckis' success directing Romancing the Stone (1984). Fox was the first choice to portray Marty, but he was unavailable; Eric Stoltz was cast instead. Shortly after principal photography began in November 1984, Zemeckis determined Stoltz was not right for the part and made the concessions necessary to hire Fox. This included re-filming scenes already shot with Stoltz and adding $4 million to the budget. Back to the Future was filmed in and around California and on sets at Universal Studios. Filming concluded the following April. Replacing Stoltz delayed production and the film's release date but, following highly successful test screenings, the date was brought forward to July 3, 1985, to give Back to the Future more time in theaters. This resulted in a rushed post-production schedule, and some incomplete special effects. Back to the Future was a critical and commercial success, earning $381.1 million to become the highest-grossing film of 1985 worldwide. Critics praised the story, comedy, and the cast-particularly Fox, Lloyd, Thompson, and Glover. It received multiple award nominations and won an Academy Award, Saturn Awards, and a Hugo Award. Its theme song, The Power of Love by Huey Lewis and the News, was a significant success globally. In the years since its release, Back to the Future has grown in esteem and is now considered to be among the greatest films of the 1980s, one of the best science-fiction films ever made, and one of the greatest films of all time. In 2007, the United States Library of Congress selected the film for preservation in the National Film Registry. The film was followed by two sequels, Back to the Future Part II (1989) and Back to the Future Part III (1990). With its effect on popular culture and a dedicated fan following, Back to the Future launched a multimedia franchise. This includes an animated television series, video games, comic books, board games, clothing, music, books, food, toys, collectibles, and theme park rides. Its enduring popularity has led to numerous books about its production, documentaries, and commercials. Back to the Future has been adapted into a 2020 stage musical.
$59.99
Calibrating the Moon - Tuba and Piano
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Tuba and Piano
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ADVANCED
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Contemporary
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Kyle Vanderburg
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Calibrating the Moon - Tuba an
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NoteForge
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SheetMusicPlus
Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Publishe...
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Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Published by NoteForge (A0.1002836). I spent New Year's Eve 2018 in Nye, Montana, visiting family and friends. One of those friends is an imaging specialist who regaled us with an explanation of his most recent project, which he described as calibrating the moon. Specifically, he was talking about the NASA ARCSTONE mission to calibrate the moon's reflectance to use as an accurate reference, primarily in climate science. The idea is that we have all this data about global warming and atmospheric changes, and a lot of that data uses the brightness of the moon as a control variable, but we don't actually have a precise definition of how bright the moon is. Ever since I was a part of that conversation, I knew that I wanted calibrating the moon as a title, and everything that came after that plays with the idea of moon themes or of doing big impossible-sounding things. When Connor Challey approached me about writing for tuba, Calibrating the Moon was an obvious choice.The work opens with Syzygy, a term describing the straight line between the sun, moon, and Earth that occurs every new and full moon. The movement starts dark and brooding, moves to an energetic middle section, and returns to being mysterious, kind of like a lunar cycle. Fun fact: This movement's theme is actually a tuba setting of the phrase Calibrating the moon.The Second movement, Spectral Reflectance, is slow and shiny. NDSU was fortunate to have portfolio tubist (and Connor's mentor) Sam Pilafian as a visiting guest artist for several years, and I finished Syzygy around the time of his passing. I spent a lot of time thinking about Sam while putting the second movement together, and I quoted a couple of his favorite tuba concerti.The work ends with Libration. If you were to watch a time-lapse video of a lunar cycle, you'd notice that the moon not only transitions from new to full to new, but also sort of oscillates or wags. That's Libration. The movement is likewise off-kilter, playing with the listener's sense of time through alternating time signatures.https://kylevanderburg.com/music/calibrating-the-moon/
$14.99
The grasshopper and the ant for alto voice, flute and guitar
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Contemporary
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August, word of animal, Both i
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David Warin Solomons
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The grasshopper and the ant fo
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Flute,Guitar,Voice - Level 3 - Digital Download SKU: A0.577579 Composed by David Warin Solomons. 20th Century,Contemporary. Score and part...
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Small Ensemble Flute,Guitar,Voice - Level 3 - Digital Download SKU: A0.577579 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 10 pages. David Warin Solomons #2040469. Published by David Warin Solomons (A0.577579). A setting of the La Fontaine poem La cigale et la fourmi as translated into English by my father The recording is an electronic preview, the vocal part being represented by a French horn - a performance in which I sing the words and the melody instrument is represented by an approximation of a grasshopper sound can be heard at http://www.dwsolo.com/grasshopper.mp3 The pdf file contains the score and parts. Text of this English version The Grasshopper in drowsy song Had spent the pleasant summer long, And found herself without a crumb When winter's icy blast had come. Not one small morsel could she spy Of puny worm or measly fly. So off she went to cry her want Straight to her neighbour Madame Ant, Merely asking for a loan Of bread or grain to eke her own Until the plenteous time came round. I'll pay you back, or I'll be bound By August, word of animal, Both interest and principal. The Ants are not a lending lot Indeed that is their slightest fault. What were you doing when 'twas hot? She asked this impecunious sort. To all who came, both day and night I used to sing at every chance. You used to sing? That's fine and right! Well now's the very time - to dance! ©S.N.Solomons.
$10.00
The grasshopper and the ant for alto voice, clarinet and guitar
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Contemporary
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August, word of animal, Both i
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David Warin Solomons
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The grasshopper and the ant fo
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Clarinet,Guitar,Low Voice - Level 3 - Digital Download SKU: A0.577578 Composed by David Warin Solomons. 20th Century,Contemporary. Score a...
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Small Ensemble Clarinet,Guitar,Low Voice - Level 3 - Digital Download SKU: A0.577578 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 10 pages. David Warin Solomons #2040467. Published by David Warin Solomons (A0.577578). A setting of the La Fontaine poem La cigale et la fourmi as translated into English by my father The recording is an electronic preview, the vocal part being represented by a French horn - a performance in which I sing the words and the melody instrument is represented by an approximation of a grasshopper sound can be heard at http://www.dwsolo.com/grasshopper.mp3 The pdf file contains the score and parts. Text of this English version The Grasshopper in drowsy song Had spent the pleasant summer long, And found herself without a crumb When winter's icy blast had come. Not one small morsel could she spy Of puny worm or measly fly. So off she went to cry her want Straight to her neighbour Madame Ant, Merely asking for a loan Of bread or grain to eke her own Until the plenteous time came round. I'll pay you back, or I'll be bound By August, word of animal, Both interest and principal. The Ants are not a lending lot Indeed that is their slightest fault. What were you doing when 'twas hot? She asked this impecunious sort. To all who came, both day and night I used to sing at every chance. You used to sing? That's fine and right! Well now's the very time - to dance! ©S.N.Solomons.
$10.00
Aurora Waltz
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Juventino Rosas
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Joel Jacklich (ASCAP)
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Aurora Waltz
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Joel Jacklich
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SheetMusicPlus
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.723189 Composed by Juventino Rosas. Arranged by Joel Jacklich (ASCAP). Concert,Holiday...
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.723189 Composed by Juventino Rosas. Arranged by Joel Jacklich (ASCAP). Concert,Holiday,Romantic Period,Wedding. Score and parts. 32 pages. Joel Jacklich #6717977. Published by Joel Jacklich (A0.723189). José Juventino Policarpo Rosas Cadenas (25 January 1868 - 9 July 1894) was a Mexican composer, violinist, and band leader.Rosas was born in Santa Cruz de Galeana, Guanajuato, in a poor Otomi Native American family. In his youth he did whatever he could related to music, from ringing church bells to playing violin on the street, making music for his living from age 7 on. He used music for his ambitions to better himself, including composing a waltz in exchange for a pair of shoes.He moved to Mexico City and soon became a well known musician and composer. At age 12 he was playing violin in one of the city's most popular dance bands. In his early teens, he worked accompanying well known singer Angela Peralta. Although he applied twice for entrance to the National Music Conservatory and briefly studied there, he was mostly self taught.Rosas led a large orchestra and a brass band that toured internationally.Rosas's best known work is Sobre las Olas or Over the Waves. This classic waltz has often been mistakenly thought by many to be Viennese, and frequently attributed to Johann Strauss II. It was first published by Rosas in 1884 when he was in New Orleans, Louisiana with the popular Mexican band at the World Cotton Centennial World's Fair. (It was later republished in Mexico and Europe in 1888, and 1891; these later years are sometimes incorrectly given as the piece's first publication date.) Rosas died in Surgidero de Batabanó, Cuba. Fifteen years later, in 1909, his remains were brought back to Mexico.Here is his Aurora Waltz from 1890, as arranged for string quartet by Joel Jacklich (A.S.C.A.P.)..(Biographical information from Wikipedia)
$12.99
5 Easy Studies, Opus 50
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5 Easy Studies, Opus 50
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SheetMusicPlus
Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer...
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Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer, her potential as a composer was recognized quite early on. Women were not permitted to enroll in conventional composition classes at the Conservatoire de Paris at the time, but, she did receive private lessons from Anton Reicha, the professor of composition there. Years later she would receive a permanent appointment as Professor of Piano at the same institution, a position she held for thirty years. She was the only woman during the 19th century to bear that title. Her piano etudes possess pedagogical value as well as great beauty and character. These works lend themselves quite well to the guitar duo setting. While I have rendered all of Farrenc’s melodies quite faithfully, I have taken liberties with the accompaniments in order to make them more idiomatic to the guitar. Likewise, many of the effects of which the guitar is capable have been brought to bear in ways that deviate from the original intent of the etude. Alternatively, the challenges that some of these etudes were meant to address for the piano student are amplified by this adaptation. For example, etude 5 is intended to enable the piano student to improve the coordination between their left and right hands. It certainly presents a challenge in that regard to the guitar duo!These selections are entirely suitable for guitarists with limited experience, though they could, of course, be beautifully realized by players with a great deal more experience as well.Louise Farrenc était une compositrice, interprète, professeur et auteure française profondément influente. Même si elle deviendra finalement une interprète très recherchée, son potentiel en tant que compositrice est reconnu très tôt. Les femmes n'étaient pas autorisées à s'inscrire aux cours de composition conventionnels au Conservatoire de Paris à l'époque, mais elle recevait des cours particuliers d'Anton Reicha, le professeur de composition du Conservatoire de Paris. Des années plus tard, elle recevra un poste permanent de professeur de piano dans la même institution, poste qu'elle occupera pendant trente ans. Elle était la seule femme au XIXe siècle à porter ce titre.Ses études pour piano possèdent une valeur pédagogique ainsi qu'une grande beauté et un grand caractère. Ces œuvres se prêtent assez bien au montage en duo de guitares. Même si j’ai rendu assez fidèlement toutes les mélodies de Farrenc, j’ai pris des libertés avec les accompagnements afin de les rendre plus idiomatiques à la guitare. De même, de nombreux effets dont la guitare est capable ont été mis en œuvre d’une manière qui s’écarte de l’intention originale de l’étude. Alternativement, les défis que certaines de ces études étaient censées relever pour l'étudiant en piano sont amplifiés par cette adaptation. Par exemple, l'étude 5 est destinée à permettre à l'élève de piano d'améliorer la coordination entre ses mains gauche et droite. Cela représente certainement un défi à cet égard pour le duo de guitares !Ces sélections conviennent parfaitement aux guitaristes ayant une expérience limitée, même si elles pourraient bien sûr également être magnifiquement réalisées par des musiciens beaucoup plus expérimentés
Song List
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1. Andantino grazioso
2. Andantino
3. Allegretto
4. Poco allegro
5. Allegro moderato
$7.95
Pas Des Patineurs (Skating), Op. 21
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Piano solo
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Edouard Jouve
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Pas Des Patineurs
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano - Digital Download SKU: LV.15847 Composed by Edouard Jouve. Ice skating, Couples. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins Un...
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Piano - Digital Download SKU: LV.15847 Composed by Edouard Jouve. Ice skating, Couples. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.15847). Pas Des Patineurs (Skating), Op. 21. Nouvelle Danse de Salon avec Theorie de M. Willemot Professeur. Musique de Edouard Jouve. Published [n.d.] by Emile Gallet, Editeur, Succr de Colombier, 6, Rue Vivienne et Galerie Vivienne de 64 `a 72 in Paris. Composition of sectional with piano instrumentation. Subject headings for this piece include Ice skating, Couples. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
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