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You've selected:
Ain't Giving Up
Sheetmusic to print
29 sheet music found
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1
26
Heaven! (featuring I Ain't Gonna Grieve My Lord No More and I Got Shoes) (Two-part)
Choral 2-part
Two-part chorus - Digital Download SKU: C7.CGE96 Composed by Arranged by Ruth Elain…
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Two-part chorus - Digital Download SKU: C7.CGE96 Composed by Arranged by Ruth Elaine Schram. Arranged by Ruth Elaine Schram. General. Sing! Octavo. 12 pages. Chorister's Guild - Digital #CGE96. Published by Chorister's Guild - Digital (C7.CGE96). UPC: 749193023273.Hymns of Praise is designed to allow for maximum flexibility of use. The uses range from solo instrument with piano (or CD) to full orchestra. A listing of the various books in this series may be found below, as well as on the back covers of each book. With the exception of the Percussion book, each book includes a Solo and an Ensemble part for each hymn. Contents: Crown Him with Many Crowns (Praise to the Living God; Christ, the Eternal Lord); Morning Has Broken (Praise and Thanksgiving; Child in the Manger; Christ Beside Me); Go, Tell It on the Mountain; Lord, Whose Love Through Humble Service (As We Gather at Your Table; Jesus, at Your Holy Table; God, Whose Giving Knows No Ending); Lift Up Your Heads, O Mighty Gates (Christ Is Alive! Let Christians Sing!; High in the Heavens, Eternal God); Joyful, Joyful, We Adore Thee (Christ Is Risen, Shout Hosanna!; Sing with All the Saints in Glory); The Church's One Foundation (We All Are One in Mission; O Living Bread from Heaven); Now the Green Blade Rises (Sing We Now of Christmas); Love Divine, All Loves Excelling (Come, Thou Long-Expected Jesus; God, Who Stretched the Spangled Heavens); Let All Things Now Living (Sent Forth by God's Blessing; The Fruit of the Spirit; The Master Hath Come).
$2.10
1.92 €
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Choral 2-part
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Arranged by Ruth Elaine Schram
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Christ, the Eternal Lord)
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Heaven!
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Chorister's Guild - Digital
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SheetMusicPlus
Heaven! (featuring I Ain't Gonna Grieve My Lord No More and I Got Shoes) (Three-part Mixed)
Choral 3-part
Three-part Mixed Chorus - Digital Download SKU: C7.CGE95 Composed by Arranged by Ru…
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Three-part Mixed Chorus - Digital Download SKU: C7.CGE95 Composed by Arranged by Ruth Elaine Schram. Arranged by Ruth Elaine Schram. General. Sing! Octavo. 16 pages. Chorister's Guild - Digital #CGE95. Published by Chorister's Guild - Digital (C7.CGE95). UPC: 749193023266.Hymns of Praise is designed to allow for maximum flexibility of use. The uses range from solo instrument with piano (or CD) to full orchestra. A listing of the various books in this series may be found below, as well as on the back covers of each book. With the exception of the Percussion book, each book includes a Solo and an Ensemble part for each hymn. Contents: Crown Him with Many Crowns (Praise to the Living God; Christ, the Eternal Lord); Morning Has Broken (Praise and Thanksgiving; Child in the Manger; Christ Beside Me); Go, Tell It on the Mountain; Lord, Whose Love Through Humble Service (As We Gather at Your Table; Jesus, at Your Holy Table; God, Whose Giving Knows No Ending); Lift Up Your Heads, O Mighty Gates (Christ Is Alive! Let Christians Sing!; High in the Heavens, Eternal God); Joyful, Joyful, We Adore Thee (Christ Is Risen, Shout Hosanna!; Sing with All the Saints in Glory); The Church's One Foundation (We All Are One in Mission; O Living Bread from Heaven); Now the Green Blade Rises (Sing We Now of Christmas); Love Divine, All Loves Excelling (Come, Thou Long-Expected Jesus; God, Who Stretched the Spangled Heavens); Let All Things Now Living (Sent Forth by God's Blessing; The Fruit of the Spirit; The Master Hath Come).
$2.10
1.92 €
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Choral 3-part
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Arranged by Ruth Elaine Schram
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Christ, the Eternal Lord)
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Heaven!
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Chorister's Guild - Digital
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SheetMusicPlus
Ain't Giving Up (featuring Sigala)
Piano, Vocal and Guitar
Interactive Download SKU: HX.353521 By Craid David & Sigala, Craig David, and Sigal…
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Interactive Download SKU: HX.353521 By Craid David & Sigala, Craig David, and Sigala. This edition: Interactive Download. Pop. Piano/Vocal/Guitar (Piano Accompaniment). 5 pages. Published by Hal Leonard Europe (HX.353521).
$4.99
4.56 €
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Piano, Vocal and Guitar
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Craid David & Sigala, Craig David, and Sigala
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Ain't Giving Up
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Hal Leonard Europe
#
SheetMusicPlus
Ain't Giving Up (featuring Sigala)
Easy Piano
Interactive Download SKU: HX.354231 By Craid David & Sigala, Craig David, and Sigal…
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Interactive Download SKU: HX.354231 By Craid David & Sigala, Craig David, and Sigala. This edition: Interactive Download. Pop. Easy Piano. 4 pages. Published by Hal Leonard Europe (HX.354231).
$3.99
3.65 €
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Easy Piano
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Craid David & Sigala, Craig David, and Sigala
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Ain't Giving Up
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Hal Leonard Europe
#
SheetMusicPlus
Ain't Giving Up by Craig David - Easy Piano
Easy Piano
Performed by: Craig David: Ain't Giving Up Digital Sheetmusic plus an interactive, do…
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Performed by: Craig David: Ain't Giving Up Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Chords, instruments: Piano;Voice; 4 pages -- Dance-Pop~~EDM~~Electronica~~Contemporary R & B
$4.99
4.56 €
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Easy Piano
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Craig David
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Easy Piano
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Musicnotes
Ain't Giving Up by Craig David - Piano/Vocal/Guitar
Piano, Vocal and Guitar
Performed by: Craig David: Ain't Giving Up Digital Sheetmusic - instantly downloadabl…
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Performed by: Craig David: Ain't Giving Up Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 5 pages -- Dance-Pop~~EDM~~Contemporary R & B~~Electronica
$5.79
5.3 €
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Piano, Vocal and Guitar
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Craig David
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Piano/Vocal/Guitar
#
Musicnotes
Next Level Bassoon: Etudes, Exercises & Engaging Songs For The Emerging Bassoonist
Bassoon - Level 1 - Digital Download SKU: A0.1474103 Composed by James Smith. Class…
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Bassoon - Level 1 - Digital Download SKU: A0.1474103 Composed by James Smith. Classical,Contest,Festival,Instructional,Multicultural,Traditional,World. Educational Method. 44 pages. Ensemble Llama Music #1051737. Published by Ensemble Llama Music (A0.1474103). I’m a bassoonist, and I don’t like the teaching materials for bassoon that are out there. There’s not enough depth and engagement in them, and nothing that supports the everyday music teacher. So I set out to create something that I would feel comfortable giving to my private students to help them grow as musicians. There are many types of music in the book: etudes, exercises, warm-ups, backwards and upside down duets (one person plays normally, the other person reads the music in an unusual way), improvised music, and composition. Musical styles range across a variety of cultures and genres such as classical, blues, fiddle tunes, marches, contemporary, musicals, and more. Using carefully crafted etudes, exercises, and songs in a variety of styles, your bassoon students are going to to find immediate success. The bite-sized examples encourage students to focus on tone, as they extend their technique and range on this wonderful instrument. Examples from the book:1.1 - Memories1.2 - Can-Can1.3 - Baby-Back Blues1.4 - Somewhere Nice1.5 - Go Down, Moses1.6 - Magenta Sky (A Backwards Duet)1.7 - Cakewalk1.8 - Red River Valley1.9 - Symphony No. 6, Mvt. 2 (Tchaikovsky)1.10 - Arkansas Traveler1.11 - Give My Regards to Broadway (key of B Flat Major)1.12 - In The Hall of the Mountain King1.13 - Landlord Fill The Flowing Bowl1.14 - It Ain't Gonna Rain No Mo'1.15 - Shalom Chaverim1.16 - Londonderry Air1.17 - Theme & Variations, Für Elise1.18 - Ominous (A Backwards Duet)Create & Improvise: St. Louis Blues (W.C. Handy)1.19 - Interlude1.20 - L'Adieu Des Bergers1.21 - Washington Post March1.22 - The Sea Monster - A Short Improvised Piece1.23 - Give My Regards to Broadway (key of G Major)1.24 - Anna Lisle (The Alma Mater Song)Critical Hit - Bassoon Concert Piece2.1 - More Memories2.2 & 2.3 - Ten Little Indians2.4 - Parliament (An Upside-Down Duet)2.5 - Bassoon Warm-Up2.6 - F Major Studies2.7 - Airang2.8 - Arpeggio In Blue2.9 - C Major Studies2.10 - Mazurka in A-flat Major2.11 - Etudes With Flats2.12 - Take Me Out To The Ball Game2.13 - Arpeggios (Part 1)2.14 - Etudes With Arpeggios2.15 - The Sar Spangled Banner2.16 - Arpeggios (Part 2)2.17 - More Arpeggio Studies2.18 - Battle Hymn of the Republic2.19 - Arpeggios (Part 3)2.20 - Kolme Varista2.21 - Swallowtail Jig2.22 - Jesu, Joy of Man's Desiring2.23 - St. Anne's Reel2.24 - Dear Old Stockholm2.25 - Esprit De CorpsSketch On a Theme From The Sorceror's Apprentice - Bassoon Concert Piece.
$29.99
27.43 €
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James Smith
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Variations, Für Elise
1
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Next Level Bassoon: Etudes, Exercises & Engaging Songs For The Emerging Bassoonist
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Ensemble Llama Music
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SheetMusicPlus
Craig David: Ain't Giving Up (featuring Sigala) - piano solo
Piano solo
Instantly printable sheet music by Craig David for piano solo of EASY skill level. / pop,c…
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Instantly printable sheet music by Craig David for piano solo of EASY skill level. / pop,children
$5.97
5.46 €
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Piano solo
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Craig David
#
Virtualsheetmusic
Craig David: Ain't Giving Up (featuring Sigala) - voice, piano or guitar
Piano, Vocal and Guitar
Instantly printable sheet music by Craig David for voice, piano or guitar of MEDIUM skill …
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Instantly printable sheet music by Craig David for voice, piano or guitar of MEDIUM skill level. / pop
$5.97
5.46 €
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Piano, Vocal and Guitar
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Craig David
#
Virtualsheetmusic
alt.Callahans Reel
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.992361 Composed by Tim Fatchen. Cel…
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Piano Solo - Level 4 - Digital Download SKU: A0.992361 Composed by Tim Fatchen. Celtic,Contemporary,Folk. Score. 15 pages. Flying Tadpole Productions #6210807. Published by Flying Tadpole Productions (A0.992361). ALT.CALLAHANS REEL(which is actually a Slide, with a Reel interlude!) Fast and lively foot-tapping neo-Celtic, at its best on electronic keyboard but also a fun piano solo. (Duration 8+ minutes) Reel Jiggery-pokery The song started as a jig but drank too much and reeled into 12/8 time. Properly speaking, despite its strong 4-beat pulse, it's a Slide. Or perhaps a Double Jig. Except for the mid-section, which is really a Reel! Needless to say, this is not for the purists...but it's huge fun for the rest of us! Playing and Performing We've marked it Advanced Intermediate. It's the indicated speed which makes demands! But you can play it slower and enjoy! On electronic or MIDI keyboard, use a percussive/plucked foundation (e.g. piano, harp, faux guitar) with a sustained string patch (string ensemble, synth strings, viola works well, fiddle works well, most violin patches are terrible!). For piano, you'll have to use more of the sustain pedal but not too much or it'll go all muddy on you, just like a mis-step in an Irish bog! (Original live and YouTube performances were on a Medeli MC 710, from 2005. This keyboard allowed splitting and dual voices. Piano was used as foundation both above and below the split point. A loud viola patch was used as the second voice on the upper part of the keyboard, as the dominant fiddle sound carrying the melody. A synth string patch was used as second voice on the lower half, giving the drones.) Add Your Own Salt and Pepper to the Score! The song is scored for clarity, not as a detailed demand for every possible nuance. It's fast, so although simple to look at when not playing, you'll need to be reading the music at speed. Unless, of course, you're blessed with a brilliant memory! So the score isn't cluttered with ornaments and fiddly bits, or lots of expression marks. Especially, it's not cluttered by a lot of suspended notes. BUT...you will need to suspend a lot of notes as you play. Think drones running all over the place and use your keyboard sustaining string patches to bring those drones out! Listen to the live recordings, they'll help. You, as player, have lots of freedom! It's up to you how many additional frills, or emphasis, or drone suspensions you throw in. Why alt.callahans?In the far distant past of 2005, there was an Internet newsgroup of that name, in honor and emulation of Callahan's Crosstime Saloon, a fictional bar with strongly community-minded and empathic clientele, part of the fictional universe of American writer Spider Robinson. [Wikipedia] A place for tall tales and true, comradeship, puns both good and bad. We had fun there, and this song came out of it. The Internet world, sadly, has changed since.
$7.50
6.86 €
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Piano solo
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Tim Fatchen
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alt.Callahans Reel
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Flying Tadpole Productions
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SheetMusicPlus
Say Something
C Instruments
C Instrument - Level 2 - Digital Download SKU: A0.1417312 By A Great Big World. By …
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C Instrument - Level 2 - Digital Download SKU: A0.1417312 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Songwriter. Lead Sheet / Fake Book. 5 pages. B. McCormick #998860. Published by B. McCormick (A0.1417312). About the Song “Say Something†is an emotional piano ballad that tugs at the heartstrings. Originally penned by indie band A Great Big World, it gained widespread recognition when powerhouse vocalist Christina Aguilera lent her voice to a haunting duet version. Here’s what you need to know: Origins: Written by duo members Ian Axel and Chad King, alongside Mike Campbell, the song was initially recorded by Axel for his solo album This Is the New Year (2011). Later, A Great Big World reimagined it for their debut album Is There Anybody Out There? (2013) .After Aguilera performed the song on The Voice, it skyrocketed to fame. The struggle of giving up on a relationship is beautifully encapsulated in the plea to “say something†and salvage what’s slipping away .At the 57th Annual Grammy Awards, “Say Something†clinched the coveted Best Pop Duo/Group Performance award, showcasing its impact and emotional resonance .Why Choose This Sheet Music? Authentic Arrangement: Our lead sheet and guitar chord sheet faithfully capture the essence of the original recording. Whether you’re a solo performer or part of a band, you’ll find the arrangement true to the song’s soulful vibe. Easy to Play: Guitarists will appreciate the clear chord diagrams and strumming patterns provided. Even beginners can master this heartfelt tune. Teaching Tool: If you’re an educator, use this sheet music to teach your students about song structure, dynamics, and emotional expression. Perfect for Covers: Whether you’re performing at a coffee shop, a virtual concert, or a cozy gathering, “Say Something†resonates with audiences. It’s a timeless choice for covers and live performances. Potential Uses Weddings: Picture a tender moment during the wedding ceremony or first dance. “Say Something†sets the mood beautifully. YouTube Covers: Create captivating content by recording your own rendition. Share it with the world! Music Classes: Use it as a teaching aid in vocal or instrumental lessons. Emotional Film Scenes: Filmmakers, take note—this song adds depth to poignant scenes. Get Your Copy Today Don’t miss out on this heartfelt piece. Download your “Say Something†lead sheet and guitar chord sheet now. Let the music speak for itself. Connect with Us! Follow us on social media to stay updated on new releases, musical tips, and exclusive content: You can connect on most social media through our handle: @ResourcefulArrangementsÂ
$4.99
4.56 €
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C Instruments
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A Great Big World
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Say Something
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B. McCormick
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.5 €
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Trumpet
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Eric Bolvin
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The Arban Manual
#
SheetMusicPlus
The Arban Manual - Hooten Edition
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
(+)
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
15.5 €
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Trumpet
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
UNSTOPPABLE! for 2-part Choir (opt. Unison) with free minus track (opt. Ukulele chords)
Choral 2-part
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.742049 Composed by M. Ryan T…
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.742049 Composed by M. Ryan Taylor. Blues,Children,Jazz,Pop. Octavo. 3 pages. Vocal Works #4611319. Published by Vocal Works (A0.742049). Free minus track at Choirworks.comLyrics by M. Ryan Taylor (Copyright © 2019):They tried to laugh, they tried to taunt, they tried to tease you down,and when you would n't fade a way they came to knock you roun'.You might be low, you might be scratched, you might be scuffed and torn,but e v'ry sun rise takes you by the hand and you're reborn.You're unstoppable!With ev'ry fall, with ev'ry wall, you rise and get that stronger,ride out the bumps, the leaps and jumps, you're flyin' that much longer.Oh, I will try until I die and meet you at that final bar,when we will rise, seek out the skies and shout it out with all the stars.We're unstoppable!You're an avalanche a-sailin' down a steep an' mighty mountain,You are water bubblin' up from pressure deep beneath the fountain,An' they might as well put chain link up to cage a wild typhoon,Or block the sun from giving life by lassoing the moon.You're unstoppable!
$1.99
1.82 €
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Choral 2-part
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M
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UNSTOPPABLE! for 2-part Choir
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Vocal Works
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SheetMusicPlus
Pachelbel Canon Easter Version duet flute and piano
1 Piano, 4 hands
1 Piano,4 Hands,Alto Voice,Soprano voice - Level 3 - Digital Download SKU: A0.1365993
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1 Piano,4 Hands,Alto Voice,Soprano voice - Level 3 - Digital Download SKU: A0.1365993 Composed by Johann Pachelbel. Arranged by Connie Boss. Easter,Holiday,Religious,Sacred. 7 pages. Connie Boss #950338. Published by Connie Boss (A0.1365993). This wonderful instrumental song has lyrics added for Easter. The piano arrangement is very similar to the original, but differs a little in parts. You can purchase this in other arrangements as well on here.For questions or requests, email cdboss@cvalley.netLyrics below:Alleluia, AlleluiaAlleluia, Alleluia The tomb was bare where Jesus layFor He had risen from the graveAnd It was just as he had foretoldWhen He gave them his word On the night before He diedWith His apostles by His sideHe said don’t fear for I will riseUpon the third day I’ll be in Heaven with my God Hymns of praise then let us singUnto Christ our Heavenly KingWho endured the cross and graveSinners to redeem and save. Alleluia, AlleluiaAlleluia, Alleluia We gather here to celebrateThis glorious day the Lord has madeBy giving of His life for usTo save us from our sins The Son of God has risen up on high!
$5.99
5.48 €
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1 Piano, 4 hands
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giving of His life for us
To save us from our sins
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The Son of God has risen up on high!
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Johann Pachelbel
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Pachelbel Canon Easter Version duet flute and piano
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Connie Boss
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SheetMusicPlus
Négyesy's Gallery
2 Violins (duet)
Violin Duet Violin - Level 5 - Digital Download SKU: A0.799489 Composed by Drake Ma…
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Violin Duet Violin - Level 5 - Digital Download SKU: A0.799489 Composed by Drake Mabry. Contemporary. 57 pages. Drake Mabry #3241901. Published by Drake Mabry (A0.799489). Négysey's Gallery (2001) for two violins is based on computer paintings created by the violin virtuoso János Négysey. During a return visit to my Alma Mater, the University of California, San Diego I heard the sounds of a far-off violin and followed them, finding myself in front of the door of János Négysey, the violin professor at the university. We hadn't seen each other in over 20 years. While catching up on our lives since my graduation, János took out several stunning computer paintings he had recently completed. I immediately suggested that I do a new work for two violins based on his art. I asked to see more and soon when I left his office I had a collection of paintings from which to choose. A year later the piece was completed and he programmed it for a recital at the University. They were premiered on April 10, 2001 by János and Päivikki Nykter, also a virtuoso violinist. The images were projected on several screens across the width of the stage. Afterwards, János and I would meet on Skype to keep up to date and there was always a healthy amount of laughter. When he passed away suddenly in 2013 I was shocked and saddened. I still miss his insights, sense of humor and encyclopedic knowledge. The duration is approximately 33 minutes and there are 12 color paintings included with the score. Many thanks to Päivikki for giving me permission to include the paintings.Négyesy's Gallery was premiered by János Négyesy and Päivikki Nykter at the University of California, San Diego on April 10, 2001
$9.99
9.14 €
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2 Violins (duet)
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Drake Mabry
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Négyesy's Gallery
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Drake Mabry
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SheetMusicPlus
Bach Cello Suite No 1 - solo guitar
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1320915 Composed by Joh. Seb. Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Traditional,Wedding. Individual part. 13 pages. Georg Mertens #909357. Published by Georg Mertens (A0.1320915). Having grown up as a cellist, who played the Suite since I am 11 years of age, I sometimes imagined or even hummed suitable bass notes, which you can't reach on the cello. Also, I imagined certain harmonies, completed in imagination when playing the Suite for years. - With many arrangements by guitarists, who didn't play the Suite on cello, I can hear, they are not going the right way! - Bach himself arranged cello Suite No 5 for lute - as lute Suite No 3 - giving us an example of how he himself went about when adding accompaniment notes - and he certainly did!Good examples are Gavotte 2 and the Gigue from Cello Suite No 5 - or lute Suite No 3. Bach also arranged the violin Partita No 3 in E major for lute - as lute Suite No 4, another example of how he himself went about. - In the arrangement here, I tried also to transfer the slurs on the cello sometimes to the guitar - e.g. in the Gigue - when I found it brings better the intended articulation better out.I hope you thoroughly enjoy the arrangement!Â
$9.99
9.14 €
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Guitar
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Joh
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Bach Cello Suite No 1 - solo guitar
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Georg Mertens
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SheetMusicPlus
Claude Debussy: Sérénade for violin and piano
Violin and Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy…
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
$12.95
11.85 €
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Violin and Piano
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet No. 6 (Lochrian) (score)
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.938389 Composed …
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.938389 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 46 pages. Colin Bayliss #6143. Published by Colin Bayliss (A0.938389). This was written in the summer of 2000 for the Lochrian Ensemble who were beginning to plan the recording of the complete string quartets. In the context of the other string quartets, here there is a reversion to the classical form, thus giving a balance between the classical quartets nos. 1, 2 and 6 and the kaleidoscopic quartets nos. 3, 4 and 5. It is in the conventional four movements:- 1. Allegro - This movement is in single subject sonata form using one figure. There is much use of quasimodal writing, especially using the Lochrian and Superlochrian modes, based both on E and C and the Mixolydian mode on E, giving a sort of tonality in which the constructional remainder notes of the serial row can be used sparingly. The pull towards a tonality of F is therefore established quickly. Each section is rounded off by the metamorphosis of the figure into a sentimental tune, but contrary to expectation, it evolves in the coda into something completely different - the opening of Beethoven's F minor string quartet Op. 95. 2. Scherzo - Wobblefunk and Tango After the last movement's ending has dispelled any seriousness, the stage is set for an outrageous scherzo. After the tango, the wobblefunk section is repeated bar by bar in reverse. Why not? It doesn't make any sense the right way round! Historical note: the term wobblefunk was invented by the composer's son Edmund to describe a type of subdued electronic crossover style music which he had written. In keeping with the family sense of humour, the thought of incorporating such a movement into a serious string quartet appealed to both parties. 3. Adagio - This movement is tonal and melodic, but introduced by a discordant motif which re-appears as if to remind the listener of their own mortality. The movement progresses through the cycle of fifths and then dissolves into a sinister coda related to the notes of the discord. 4. Allegro - This movement can be summed up as accepting life's problems but getting on with enjoying the good things as well - in the spirit of the last movement of Beethoven's string quartet Op.135. Must it be? It must be! Even if it includes a textural fugue! The ending, however, is decidedly not as clear-cut as Beethoven's ....... The Score and Parts are available on this site as separate downloads The sound sample is the third movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/ and - for this 6th quartet: https://itunes.apple.com/us/album/bayliss-string-quartet-no.-6/id573669350.
$8.00
7.32 €
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String Quartet: 2 violins, viola, cello
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Colin Bayliss
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String Quartet No. 6
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Colin Bayliss
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SheetMusicPlus
String Quartet No. 6 (Lochrian) (parts)
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.938391 Composed …
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.938391 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 57 pages. Colin Bayliss #6145. Published by Colin Bayliss (A0.938391). This was written in the summer of 2000 for the Lochrian Ensemble who were beginning to plan the recording of the complete string quartets. In the context of the other string quartets, here there is a reversion to the classical form, thus giving a balance between the classical quartets nos. 1, 2 and 6 and the kaleidoscopic quartets nos. 3, 4 and 5. It is in the conventional four movements:- 1. Allegro - This movement is in single subject sonata form using one figure. There is much use of quasimodal writing, especially using the Lochrian and Superlochrian modes, based both on E and C and the Mixolydian mode on E, giving a sort of tonality in which the constructional remainder notes of the serial row can be used sparingly. The pull towards a tonality of F is therefore established quickly. Each section is rounded off by the metamorphosis of the figure into a sentimental tune, but contrary to expectation, it evolves in the coda into something completely different - the opening of Beethoven's F minor string quartet Op. 95. 2. Scherzo - Wobblefunk and Tango After the last movement's ending has dispelled any seriousness, the stage is set for an outrageous scherzo. After the tango, the wobblefunk section is repeated bar by bar in reverse. Why not? It doesn't make any sense the right way round! Historical note: the term wobblefunk was invented by the composer's son Edmund to describe a type of subdued electronic crossover style music which he had written. In keeping with the family sense of humour, the thought of incorporating such a movement into a serious string quartet appealed to both parties. 3. Adagio - This movement is tonal and melodic, but introduced by a discordant motif which re-appears as if to remind the listener of their own mortality. The movement progresses through the cycle of fifths and then dissolves into a sinister coda related to the notes of the discord. 4. Allegro - This movement can be summed up as accepting life's problems but getting on with enjoying the good things as well - in the spirit of the last movement of Beethoven's string quartet Op.135. Must it be? It must be! Even if it includes a textural fugue! The ending, however, is decidedly not as clear-cut as Beethoven's ....... The Score and Parts are available on this site as separate downloads The sound sample is the third movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/ and - for this 6th quartet: https://itunes.apple.com/us/album/bayliss-string-quartet-no.-6/id573669350.
$10.00
9.15 €
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String Quartet: 2 violins, viola, cello
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Colin Bayliss
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String Quartet No. 6
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Colin Bayliss
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SheetMusicPlus
Epilogue
B-Flat Clarinet,Medium Voice,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1…
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B-Flat Clarinet,Medium Voice,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1264319 Composed by Ali Hanna, Madison Julius Cawein, and Mark Twain. 21st Century,Contemporary. 6 pages. Ali Hanna #857172. Published by Ali Hanna (A0.1264319). I wrote this piece as an epilogue (pun definitely intended) to a traumatic religious event that took place in February 2023. I won't go into details so I don't risk triggering anyone, but let's just say it was a lot. This is also the first piece I've written where the text isn't my own because my composition professor at the time challenged me to do so.The text of the first half of the piece comes from Mark Twain's poem Warm Summer Sun. It's intended to be an acceptance of the fact that the singer isn't the same person they once were. As the poem repeats, the singer begins to say goodbye to their old self and lay them to rest.The text of the second half of the piece comes from Madison Julius Cawein's poem Take Heart. I see this part as someone in the singer's life giving them hope to keep on living, and who that entity is can be interpreted in a number of ways. For me, it was the friends and professors around me that helped me keep going. I didn't talk to many people about what happened, but just seeing everyone's faces every day taught me that if they can continue living their lives, then so can I.I ended up adding the clarinet part after a moment of inspiration during my trip to the ICA ClarinetFest 2023 in Denver, Colorado. Voice and clarinet are my two passions, so I thought I would use Epilogue to put them together. This piece has yet to be premiered in its current form, but I hope to someday. If you would like to premiere it, please email me at alisonhanna29@gmail.com.
$10.00
9.15 €
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Ali Hanna, Madison Julius Cawein, and Mark Twain
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Epilogue
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Ali Hanna
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SheetMusicPlus
Old Cavalry Fanfare for 3 Bb Trumpets & Kettledrums
Trumpet
Trumpet - Level 3 - Digital Download SKU: A0.978843 By Keith Terrett. By Anon. Arra…
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Trumpet - Level 3 - Digital Download SKU: A0.978843 By Keith Terrett. By Anon. Arranged by Keith Terrett. Baroque,Classical,Instructional,Traditional,Wedding. 6 pages. Keith Terrett #584509. Published by Keith Terrett (A0.978843). A Fanfare for three Bb Trumpets & Timpani. This was arranged from an old melody of unknown origin, for Eb Cavalry Trumpets and Kettledrums of the Queen’s Royal Irish Hussars Band, a former Northern Irish Regiment within the British Army; whose Colonel in Chief was HRH The Duke of Edinburgh. Winston Churchill was a young officer in the regiment, before the amalgamation of the 4th & 8th Hussars, to form the ’Queen’s Royal Irish Hussars’’. All cavalry regiments of the line, have a team of Cavalry Trumpets, who under the ’Trumpet Major’, play at 11am each day outside regimental headquarters, for the Regiment. Traditionally the fanfare ’stables’ would be played first; followed by another fanfare of the ’’Trumpet Major’s’’ choice. In cavalry regiments there is often a drum horse, on which the two timpani are positioned and played. An example would be the Queen’s Own Hussars, who for many years had a fine old drum horse, trained not to panic when the kettledrums were being played fortissimo! During the day, one trumpeter is on duty, and plays various trumpet calls throughout the day to signal important happenings in the regiment’s daily schedule of events. For example, Reveille is at 0630, Mess call at 0700, Mess call 1230, Guard mount 1800, Officers dress for dinner 2000, finishing with last post at 2200! There are also trumpet calls for fire, war and mucking out the horses! One morning when I was on trumpet duty in Germany at the tender age of 18, I woke up late, and just managed to play the ’’Reveille’’ trumpet call out of my bedroom window, in an effort not to be ’charged’ for missing a call! The equivalent in the Infantry would be the bugle, which is also used as a method of signaling to the regiment. This fanfare works well for three Bb trumpets and timpani. Eb cavalry trumpets are often written in the key of C, and harmonically there is no third on chord V due to the harmonics of the instrument, and the fact that they have no valves; giving a bare sounding chord. The trills in the first part are lip trills, on Bb trumpet, simply play a lip trill using the valves 1 & 3. The most famous Eb cavalry trumpeters in the British Army, are undoubtedly the trumpeters of the household cavalry, who perform in spectacular golden uniforms, complete with riding hats, at the state opening of parliament. Don’t forget Eb cavalry trumpeters are musicians from the band,(they could be clarinettists),assigned to trumpet for two to three years, not so good for your embouchure!! So when you hear a mis-pitched note in future, you know that the trumpeter could be a bassoonist, doing his or her very best.
$5.00
4.57 €
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Trumpet
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Keith Terrett
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Old Cavalry Fanfare for 3 Bb Trumpets & Kettledrums
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Keith Terrett
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SheetMusicPlus
Soon We Will Be Done (Downloadable)
Choral SATB
SATB choir and Piano - Medium - Digital Download SKU: MQ.1.3610-E Composed by Kyle …
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SATB choir and Piano - Medium - Digital Download SKU: MQ.1.3610-E Composed by Kyle Pederson. African American Heritage. Instrument part. 22 pages. Galaxy Music Corporation - Digital #1.3610-E. Published by Galaxy Music Corporation - Digital (MQ.1.3610-E). English. From the arranger, Kyle Pederson To me, spirituals are the most powerful type of music. Spirituals were birthed and rooted in the experience of chattel slavery in the United States—and arose out of, as Arthur C. Jones asserts, “deeply meaningful, archetypically human experiences, relevant not only to the specific circumstances of slavery but also to women and men struggling with issues of justice, freedom, and spiritual wholeness in all times and places.†The original text of Soon Ah Will Be Done is as follows: Soon ah will be done with the troubles of the world (repeat) Goin’ home to live with God No more weeping and a-wailing (repeat) Goin’ home to live with God I want t’ meet my mother (repeat) Goin’ home to live with God I want t’ meet my Jesus (repeat) Goin’ home to live with God When I sang this spiritual growing up, I was struck by both the withering sorrow and expectant hope throughout. The melody and emotion has stuck with me since. When approaching my own arrangement, I hoped to honor the voice of the original writers and their experience of slavery, and I also sought to extend a voice to people today who are suffering from oppression and discrimination. I hoped an appropriate way to honor the experience of the original writers might be to invite the contemporary listener to envision and commit to a better, more just world today—a world of inclusion, radical kindness, compassion, love, and grace—a world where we have the courage to champion the inherent dignity and value of all people, a world where we will be done with all the ways we deny a person’s worth. A world where “heaven has come to earth.†In this arrangement, spoken word is incorporated throughout, intended to heighten the intensity of the performance, and meant to give a sense of immediacy to the challenge for the choir and audience to work together for justice, equity, and wholeness. Spoken word has often been used as the language of protest—and I include it intentionally as a way of giving voice to the choir members (and listener)—where all can stand in solidarity against oppression and injustice. If desired, choir members are encouraged to write their own spoken word text that speaks to issues of inequity and injustice in their own communities. I am writing this program note not long after George Floyd was killed in Minneapolis, MN, on May 25, 2020. As a Minneapolis area resident for the past 25 years, I want to take a more active role in working towards justice in my community. All proceeds received from the sale and performance of Soon We Will Be Done will be directed to ISAIAH—a multi-racial, state-wide, nonpartisan coalition of faith communities fighting for racial and economic justice in Minnesota. You can read more about the phenomenal work ISAIAH is doing at isaiahmn.org.
$3.20
2.93 €
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Choral SATB
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Kyle Pederson
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Soon We Will Be Done
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Galaxy Music Corporation - Digital
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SheetMusicPlus
Wombling Merry Christmas
Choral SATB
Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1493804 Compos…
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Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download SKU: A0.1493804 Composed by Mike Batt. Arranged by Timothy Allen. Christmas,Film/TV,Pop,Rock. 16 pages. Timothy Allen Music Ltd #1070468. Published by Timothy Allen Music Ltd (A0.1493804). This feel-good favourite was written by Mike Batt and originally performed by The Wombles. The arrangement is fairly straightforward and easy to learn, giving plenty of opportunity for the choir to get into the spirit of the song and have fun! You don't need to be too precise with lyrics in the Ba ba-daa sections - just aim for the right overall effect and don't get hung up on whether you should be baing or daing!Learning tracks and a backing track are available directly from the arranger at http://www.timothyallenmusic.co.uk.
$2.99
2.74 €
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Choral SATB
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Mike Batt
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Wombling Merry Christmas
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Timothy Allen Music Ltd
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SheetMusicPlus
Wind Quintet - One Rule
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
32.02 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
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