Alterations Sheet Music to download and print

Alterations

String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 24 pages. Upstream Music #6353319. Published by Upstream Music (A0.933524). The Prelude and Fugue in C major were created during the period of study with Johann Georg Albrechtsberger, who lived from February 3, 1736 to March 7, 1809. Albrechtsberger was an Austrian theoretician and pedagogue of music, an organist, as well as a composer. He entered upon his career early as a choirboy in the choir of the monastery of Melk, Austria. There he was discovered by the crown prince, the later emperor Joseph II. The latter facilitated an appointment as the court organist.Later Albrechtsberger became conductor of the chapel choir of the famous Stephansdom in Vienna. Albrechtsberger was a highly praised pedagogue; Beethoven, too, was among his pupils. It was this composer that studied with Albrechtsberger from January 1794 to March/May 1795. Together with Beethoven, Albrechtsberger researched all forms of the counterpoint, which is most manifest in the large number of exercises passed down; over 300 studies, fugues etc. have been preserved with corrections and alterations by Albrechtsberger. During this period of study, greater works were also composed, such as the Dona Nobis Pacem (Hess A57), the Prelude and Fugue in E minor (Hess 29), the Prelude and Fugue in F major (Hess 30) and the present one in C major (Hess 31). The piece was probably composed in 1794-95; this opus also shows numerous improvements and alterations by his master, although some alterations are by Beethoven himself. The manuscript of the work is to be found in Vienna, and did not appear in print until 1967 for the first time.The present version sticks closely to Beethoven’s, but has been provided with a double bass part so as to adapt the work for being performed with a larger strength than for which it was originally written. The strength originally intended by Beethoven was two violins, a viola and a cello, so as a string quartet. With the supplementary bass part, the piece can also be played by a string orchestra, which will no doubt promote its dissemination and familiarity. In a sense, the work is already a preliminary study for the string quartets Opus 18 produced later.Especially the rhythm, melodic forms, and the counterpoint applied, frequently return in these string quartets. Beethoven has hardly indicated any rests in the empty bars; Cees has as yet added them.The phrasing, dynamics and time indications have also been added. Beethoven merely writes down the notes, while we have to accept the fact that various notes have been changed by Albrechtsberger but Beethoven’s notes might have been just as interesting. Of some notes it was not clear what Beethoven exactly meant; in such a case, Cees has adhered to the harmonious form, adapting the notes which, logically speaking, fit in with the harmonic unity.

Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation” is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.” Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.

Somewhere Only We Know Choral TTBB

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.919853 By Keane. By Richar…(+)

Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.919853 By Keane. By Richard Hughes, Tim Rice-Oxley, and Tom Chaplin. Arranged by Ash. A Cappella,Film/TV. Octavo. 14 pages. Music by Ash #6578199. Published by Music by Ash (A0.919853). General DetailsA cappella5 voice parts (no further divisi)Ideally suited for 10-16 voicesMelody appears in various voice parts (T1, T2, T3)Can be sung down a whole step with no alterations (option to displace lowest B2 notes up an octave)Duration: approx. 3:50Vocal RangesTenor 1: F#3-B4Tenor 2: B3-A4Tenor 3: E3-F#4Baritone: E3-D4Bass: E2-B3 Looking for alterations for your ensemble? Contact ash@musicbyash.com.www.MusicByAsh.com
$2.00 1.87 € #Choral TTBB #Keane #Somewhere Only We Know #Music by Ash #SheetMusicPlus

Am I A Soldier Of The Cross Oboe, Piano (duet)

Instrumental Duet,Piano Clarinet,Instrumental Duet,Oboe,Piano - Level 3 - Digital Download…(+)

Instrumental Duet,Piano Clarinet,Instrumental Duet,Oboe,Piano - Level 3 - Digital Download SKU: A0.855085 Composed by Thomas A. Arne(1710-1778) Isaac Watts (1674-1748). Arranged by Joseph Pugh. Christian,Classical,Concert,Sacred,Standards. Score and parts. 7 pages. Joseph Pugh #6135115. Published by Joseph Pugh (A0.855085). Am I a Soldier of the Cross is one of many alterations and abandonments. The first printed version appeared in the Methodist Pocket Hymnbook of 1802. The text has gone through several alterations in the Methodist hymnals.-Hymnary.com Lyrics by the great Isaac Watts and the tune, Arlington by Thomas A. Arne. This classically styled arrangement by Joseph Pugh delivers a fresh spin on an old Hymn.
$6.99 6.52 € #Oboe, Piano (duet) #Thomas A #Am I A Soldier Of The Cross #Joseph Pugh #SheetMusicPlus

French Horn,Piano - Level 5 - Digital Download SKU: A0.1416184 Composed by Robert Schumann. Arranged by Layne Anspach. Classical. Score and part. 62 pages. Songburd Music #997868. Published by Songburd Music (A0.1416184). ROBERT SCHUMANN was a German pianist, music critic and one of the great composers of the Romantic Period who, in an earlier part of his career, was generally critical of the compositional works for piano and voice of his day, and consequently the greater number of his compositions throughout the 1830s were written mostly for piano. Then came the year of 1840, considered to be Schumann’s liedarjahr (year of song), when he composed nearly half of his life’s best-known works, featuring some of the greatest liederkreis (song cycles) ever written for voice and piano. One of his widely celebrated song cycles is the well-known Dichterliebe, Op. 48, which is based on a fanciful story of a knight who experiences rejection and love lost, giving us an insight into Schumann’s interests as a ballad writer, melding dramatic irony with his introspective nature and musical style. Schumann’s talent for combining dramatic lyrics with pleasing melodies is clearly seen in the moving lieder (songs) of his repertoire, and his Dichterliebe (A Poet’s Love) is thought to be the paramount work among his song cycles. Achieved in part by drawing upon the lyric poetry of Heinrich Heine, a German author, poet and literary critic whose political activism among the Junges Deutschland (Young Germans) of the 1830s and 1840s instigated at one point the banning of his works in Germany, leading him to become an expatriate who spent his final years living in Paris, France. Notably, the Romantic Period in Germany is thought to have had its roots in the Sturm und Drang (Storm and Stress) of the late 1700s and was certainly influenced to some degree by the French Revolution, which contrasted itself to the rationalism of the fading period of the Age of Enlightenment. Thus, the ideological movement of the Young Germans, and its reactive stance to the Romanticism of the era, adds some contrast to Heine’s lyric poetry, which expressed personal emotions and the irony of love, solidified in his Buch der Lieder (Book of Songs) that was published in 1827. Divided into five sections, Heine’s Book of Songs dealt with issues of unrequited love, romanticism, and introspection, and it was from the more than 60 poems of the lyrical cycle Lyrisches Intermezzo (Lyrical Intermezzo) that Schumann found inspiration for his noteworthy song cycle, selecting 16 of Heine’s lyric poems for his Dichterliebe. For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music. Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line. Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition. To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.

French Horn,Piano - Level 5 - Digital Download SKU: A0.1416186 Composed by Richard Strauss. Arranged by Layne Anspach. Classical. Score and part. 43 pages. Songburd Music #997870. Published by Songburd Music (A0.1416186). RICHARD STRAUSS was a much-celebrated German composer and conductor who is understood by many to have captured the essence of the German Period of Romanticism and his works encompass almost every type of compositional form, noting that many of his compositions became standards of the operatic and orchestral repertoire. While being personally recognized as one of the leading conductors in Western Europe, and internationally as well, he is also known for his lieder (songs), noting also that Strauss is thought to have composed most of these songs with the voice of his wife in mind, writing them for voice and piano accompaniment. As the story is sometimes told, it was Ludwig Thuille, also a prominent Austrian operatic composer, who introduced Strauss to the poetry of Hermann von Gilm, Austrian lawyer and poet, whose authored works caught Strauss’ attention. Strauss’ admiration for Gilm’s work eventually brought him to compose a series of eight art songs found in Gilm’s literary collection Letzte Blätter (Last Leaves or Last Pages). Strauss’ completed musical work, entitled Acht Lieder aus ‘Letzte Blätter,’ op. 10 (Eight Songs from Last Pages), was first published in the year 1887, with the intention that all would be written for the tenor voice, and the collection is thought to contain some of Strauss’ most appreciated and respected art songs of the period.For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music. Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line. Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition. To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.

French Horn,Piano - Level 4 - Digital Download SKU: A0.1416182 Composed by Franz Schumbert. Arranged by Layne Anspach. Classical. Score and part. 14 pages. Songburd Music #997866. Published by Songburd Music (A0.1416182). FRANZ SCHUBERT was an Austrian composer native to the cosmopolitan city of Vienna, colorfully called the “City of Music” as so many other non-native musicians composed or performed there, while others such as Mozart and Beethoven called it home. While only 20 years of age in the year of 1814 Schubert composed a remarkable number of lieder (songs), drawing upon the works of many different poets of the period, which eventually connected him with the poems of Johann Goethe. This lead Schubert in the year of 1815 to compose the well-known Erlkönig, op. 1 D. 328, based upon Goethe’s poem Der Erlköning, which was taken and revised from a widely told Scandinavian folk tale about a sinister daughter of a forest-dwelling Elf King. Johann Wolfgang von Goethe was a poet, playwright and novelist who is thought to have been influenced by the Sturm und Drang literary movement, becoming perhaps one of the greatest authors in the German language whose works have had a lasting impression on Western literature to this day. Notably, it ought to be mentioned that many of his poems were set to music by the likes of Mozart, Liszt, Wagner, Mahler, Berlioz, Beethoven and of course Schubert, who used Goethe’s poem, Der Erlkönig, to produce one of his more fanciful art songs that depicts the death of a child who is attacked by the “king of the elves,” a mystical being who lingers in the woods only to stalk little children and kill them with a touch of his hand. The story of the Erlkönig is considered by some to have come from the Danish folk ballad Elveskud, and that Goethe’s variant was inspired by a work written by the philosopher, Johann Gottfried von Herder. It tells the story of a boy who is being carried home by his father during the night, and the child hears noises and seems to see things in the woods, while the father attempts to comfort the son by explaining away the things that scare him, all the while riding ever faster on horseback, only in the end to discover that his son has died. (The Erlkönig translates literally from the German as “Alder King” rather than the commonly used “Elf King.”)For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music. Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line. Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition. To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.

Colors Of The Wind Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1404314 By Vanessa Williams. By…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1404314 By Vanessa Williams. By Alan Menken and Stephen Schwartz. Arranged by Mat Davis. Film/TV. 56 pages. Mat Davis #987415. Published by Mat Davis (A0.1404314). A stunning arrangement of Colors of the Wind from Pocohontas for Vocal Solo and Orchestra, suitable for any orchestras. Guaranteed to stir the emotions of your audience.It would make a fantastic addition to a film music programme, but also easily fit into a programme alongside classical repetoire or make a lovely encore to any concert. It has been tested throughout the arrangement process by an amateur film music orchestra in UK to ensure that it is suitable and balances well. I have tried to keep it as close to the original as possible, the key is dropped to C Minor/Major and there are some alterations and edits to make it more accessible. The solo instrument can be changed if requested. www.matdavismusic.co.uk.
$59.99 55.96 € #Orchestra #Vanessa Williams #Colors Of The Wind #Mat Davis #SheetMusicPlus

World On Fire Choral SSAA

Choral Choir,Choral,SSAA Chorus - Level 2 - Digital Download SKU: A0.1404770 By Dol…(+)

Choral Choir,Choral,SSAA Chorus - Level 2 - Digital Download SKU: A0.1404770 By Dolly Parton. By Dolly Parton. Arranged by Ash. Contemporary,Country,Folk,Pop,Singer/Songwriter. 20 pages. Music by Ash #987835. Published by Music by Ash (A0.1404770). General Details4 voice parts with piano (no further divisi)Well-suited for small ensembles (8-12 voices), large choruses (100+), or in betweenDuration: approx. 4:30Vocal RangesSoprano 1: A3-E5Soprano 2: A3-E5Alto 1: G3-A4Alto 2: E3-E4Looking for alterations for your ensemble? Contact ash@musicbyash.com.www.MusicByAsh.com.
$2.00 1.87 € #Choral SSAA #Dolly Parton #World On Fire #Music by Ash #SheetMusicPlus

Lucky Choral TTBB

Choral Choir,Choral,TTBB Chorus - Level 2 - Digital Download SKU: A0.1404384 By Bri…(+)

Choral Choir,Choral,TTBB Chorus - Level 2 - Digital Download SKU: A0.1404384 By Britney Spears. By Alexander Kronlund, Martin Sandberg, and Rami Yacoub. Arranged by Ash. Contemporary,Pop,Singer/Songwriter. 9 pages. Music by Ash #987459. Published by Music by Ash (A0.1404384). General Details4 voice parts with piano (no further divisi)Well-suited for small ensembles (8-12 voices), large choruses (100+), or in betweenDuration: approx. 2:50Vocal RangesTenor 1: D3-A4Tenor 2: D3-F#4Baritone: C3-D4Bass: G2-D4Looking for alterations for your ensemble? Contact ash@musicbyash.com.www.MusicByAsh.com.
$2.00 1.87 € #Choral TTBB #Britney Spears #Lucky #Music by Ash #SheetMusicPlus

World On Fire Choral TTBB

Choral Choir,Choral,TTBB Chorus - Level 2 - Digital Download SKU: A0.1404861 By Dol…(+)

Choral Choir,Choral,TTBB Chorus - Level 2 - Digital Download SKU: A0.1404861 By Dolly Parton. By Dolly Parton. Arranged by Ash. Contemporary,Country,Folk,Pop,Singer/Songwriter. 20 pages. Music by Ash #987891. Published by Music by Ash (A0.1404861). General Details4 voice parts with piano (no further divisi)Well-suited for small ensembles (8-12 voices), large choruses (100+), or in betweenDuration: approx. 4:30Vocal RangesTenor 1: C3-A4Tenor 2: C3-E4Baritone: G2-E4Bass: G2-E4Looking for alterations for your ensemble? Contact ash@musicbyash.com.www.MusicByAsh.com.
$2.00 1.87 € #Choral TTBB #Dolly Parton #World On Fire #Music by Ash #SheetMusicPlus

Back To The Future Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1404786 Composed by Alan Silves…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1404786 Composed by Alan Silvestri. Arranged by Joseph Perkins. 20th Century,Contemporary,Film/TV. 106 pages. Joseph Perkins #987850. Published by Joseph Perkins (A0.1404786). Small cuts and alterations have been made to lower the difficulty and allow for a string/full option. This arrangement can be used as string orchestra arrangement (with piano and Percussion) or with addition of winds up to full orchestra. Exposed Oboe/Bassoon/Horn parts are embedded or cued into the wind or string parts (or have ossia measures). The Bass Clarinet doubles the Bassoon. Alto Saxophone is a substitution part for French Horn. Tenor Saxophone doubles Trombone II. Baritone Saxophone doubles Trombone III.
$49.99 46.63 € #Orchestra #Alan Silvestri #Back To The Future #Joseph Perkins #SheetMusicPlus