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9976
Eternal Bridge For Oboe Harp And Strings
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SK…
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
$25.00
23.09 €
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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SheetMusicPlus
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.66 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestra
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
36.02 €
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Orchestra
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Manuel de Espinosa de los Monteros (1730-1810)
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Rondo Alla Turca (GUITAR TAB) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart] FULL SONG!
Guitar notes and tablatures
Easy Guitar (with TAB) - Level 2 - Digital Download SKU: A0.1258168 Composed by Wol…
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Easy Guitar (with TAB) - Level 2 - Digital Download SKU: A0.1258168 Composed by Wolfgang Amadeus Mozart. Arranged by Darek. Classical,March. Tablature. 4 pages. Darek #851414. Published by Darek (A0.1258168). Rondo Alla Turca (GUITAR TAB) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart] FULL SONG!Simplified arrangement for guitarists of Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331 by Wolfgang Amadeus Mozart. FULL SONG! Guitar arrangement. Easy arrangement for beginners. Included: Sheet Music, Tabulature, Chords and Youtubue tutorial. Unleash the power of your guitar with our meticulously crafted sheet music edition of Mozart's Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331. Specifically arranged for guitar players at an easy/intermediate level, this tablature edition allows you to embark on a musical journey through the enchanting sounds of Mozart's composition. Explore the rich musical heritage of the Classical era as you dive into the captivating melodies and rhythmic complexities of Rondo Alla Turca. Our guitar sheet music combines standard notation with detailed tablature to provide a seamless learning experience, catering to both traditional sheet music readers and those who prefer visual fretboard guidance. Immerse yourself in the world of chords as our sheet music includes chord diagrams, allowing you to add a harmonious depth to your performance. With our carefully arranged chords, you'll be able to capture the essence of Mozart's composition while expanding your guitar-playing skills. To further enhance your learning experience, we offer an invaluable YouTube tutorial that accompanies our sheet music. Watch and learn from a skilled guitarist as they guide you through the intricacies of Rondo Alla Turca, providing helpful tips and techniques that will take your performance to the next level. Unlock the potential of your guitar playing as you explore the remarkable beauty of Mozart's masterpiece. Our sheet music package is thoughtfully curated to ensure accessibility for easy/intermediate level guitarists, allowing you to develop your skills while staying engaged with the composition. Whether you're a budding guitarist, a music enthusiast, or a lover of classical music, our sheet music edition of Rondo Alla Turca is a must-have addition to your repertoire. Embrace the timeless beauty, the intricate melodies, and the rhythmic allure that make this composition a true gem of the Classical era. Position yourself for success in your musical journey by acquiring our high-quality guitar sheet music. Embrace the challenge of mastering Rondo Alla Turca at an easy/intermediate level, while indulging in the artistic brilliance of Mozart. With our comprehensive package, including sheet music, tablature, chords, and a valuable YouTube tutorial, you'll have all the tools you need to elevate your guitar playing and immerse yourself in the world of classical music. Don't miss the opportunity to captivate audiences with your guitar rendition of Rondo Alla Turca. Explore the fusion of classical and guitar music, and experience the sheer joy of playing one of Mozart's most beloved compositions. Begin your musical journey today and let the magic of Mozart resonate through your fingertips.
$4.00
3.69 €
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Guitar notes and tablatures
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Wolfgang Amadeus Mozart
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Rondo Alla Turca
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Darek
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For String Orquestra
Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.8894…
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Large Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.889436 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. Score and parts. 11 pages. Luis Anjos Teixeira #4737807. Published by Luis Anjos Teixeira (A0.889436). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass. Have fun! It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$10.99
10.15 €
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Johann Sebastian Bach
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For String Orquestra
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Luis Anjos Teixeira
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SheetMusicPlus
Jacques Leguerney: String Quartet in D for two violins, viola and cello
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.5…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95
35.97 €
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String Quartet: 2 violins, viola, cello
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quartet in D for two violins, viola and cello
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jesus Shall Reign Where'er the Sun
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.61 €
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Piano solo
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John Hatton
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.68 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
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
6.93 €
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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
Rondo Alla Turca (HARD PIANO) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart]
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1258167 Composed by Wolfgang Amadeu…
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Piano Solo - Level 4 - Digital Download SKU: A0.1258167 Composed by Wolfgang Amadeus Mozart. Arranged by Darek. Classical,March. Score. 5 pages. Darek #851413. Published by Darek (A0.1258167). Rondo Alla Turca (HARD PIANO) Sonata A-major No. 11, KV 331 [Wolfgang Amadeus Mozart]Advanced arrangement for pianists Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331 by Wolfgang Amadeus Mozart. Advanced (difficult) version / Difficult arrangement for advanced pianists. Included: Fingering, Dynamics and video youtube tutorial. Â Embark on a virtuosic journey with our exceptional sheet music edition of Mozart's Rondo Alla Turca (Turkish March / Turkish Rondo) from Sonata A-major No. 11, KV 331. Designed for advanced pianists, this sheet music offers a formidable challenge that will push the boundaries of your skills and immerse you in the captivating beauty of Mozart's composition. As you explore the intricacies of this masterpiece from the Classical era, our meticulously annotated sheet music provides detailed fingering instructions, allowing you to navigate the complex passages with precision and agility. Experience the satisfaction of conquering the technical demands as you bring the composition to life. With our comprehensive notation of dynamics, you'll discover the subtle nuances and expressive qualities that define Rondo Alla Turca. Unleash the full range of your artistry as you create a compelling narrative through the ebb and flow of volume and intensity. Complementing our sheet music, we offer an invaluable YouTube tutorial featuring a seasoned pianist. Dive deep into the interpretation and performance techniques of Rondo Alla Turca, benefiting from expert insights and guidance that will enhance your understanding and mastery of this extraordinary composition. Delve into the depths of Mozart's genius as you tackle the challenges presented by Rondo Alla Turca at an advanced level. Embrace the opportunity to showcase your technical prowess, musicality, and sheer passion for the piano. Position yourself as an accomplished pianist by embracing the complexity and artistic depth of Rondo Alla Turca. Our sheet music package caters specifically to advanced pianists, providing a platform for you to demonstrate your technical skill, interpretive choices, and ability to captivate audiences. Rediscover the timeless beauty and profound artistry of Mozart's composition. Our meticulously crafted sheet music, complete with fingering, dynamics, and an enlightening YouTube tutorial, empowers you to unlock the full potential of Rondo Alla Turca. Elevate your piano playing to new heights and make this masterpiece your own. Don't miss the chance to conquer the pinnacle of piano repertoire. Embrace the challenge, immerse yourself in the genius of Mozart, and embark on a transformative musical journey. Our expertly curated sheet music is your gateway to realizing the extraordinary beauty and technical brilliance of Rondo Alla Turca.
$5.00
4.62 €
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Piano solo
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Wolfgang Amadeus Mozart
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Rondo Alla Turca
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Darek
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SheetMusicPlus
What Was I Made For?
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1264568 By Billie Eilish. By Billie…
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Easy Piano - Level 1 - Digital Download SKU: A0.1264568 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Glauco Fernandes. Film/TV,Instructional,Pop,Wedding. Score. 3 pages. Glauco Fernandes #857398. Published by Glauco Fernandes (A0.1264568). Easy Piano Sheet Music: What Was I Made For - Billie Eilish Elevate your musical skills with our exclusive easy piano sheet music for the song What Was I Made For by the talented singer Billie Eilish. This captivating song is part of the soundtrack of the 2023 Barbie movie and is perfect for beginners, intermediate pianists, and anyone who enjoys the music.âœ”ï¸ Ideal for students and pianists of all levels: Our easy piano sheet music is designed to be accessible for students and pianists of all skill levels. Whether you're a beginner or a more experienced musician, you can master this beautiful piece and impress with your interpretation.âœ”ï¸ From the Barbie movie soundtrack: What Was I Made For is one of the tracks from the soundtrack of the 2023 Barbie movie. With our sheet music, you can play this enchanting song during your practice sessions or performances, allowing you to be part of the magic of the film.âœ”ï¸ Captivating and emotional: Billie Eilish's music is known for its deep lyrics and engaging melodies. With our easy piano sheet music, you can immerse yourself in Billie Eilish's musical world and bring the melody and emotion of What Was I Made For to life through your piano playing.âœ”ï¸ Professional quality: Our sheet music is created with a high standard of quality, ensuring an exceptional learning and performance experience. You will receive a complete and accurate score that provides all the necessary musical information for an authentic interpretation on the piano.âœ”ï¸ Instant and convenient access: Through our online sheet music sale platform, you'll have immediate access to the digital format of the What Was I Made For easy piano sheet music. This allows you to start practicing and playing this exciting song right away.Enhance your musical skills and create memorable moments with the easy piano sheet music for What Was I Made For by the talented Billie Eilish. Take this opportunity to immerse yourself in the music of one of the most acclaimed artists of our time. Start playing What Was I Made For today and let the beauty of Billie Eilish's music resonate through the keys of your piano.
$4.99
4.61 €
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Easy Piano
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Billie Eilish
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What Was I Made For?
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Glauco Fernandes
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SheetMusicPlus
What Was I Made For?
Easy Piano
Easy Piano - Level 2 - Digital Download SKU: A0.1264565 By Billie Eilish. By Billie…
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Easy Piano - Level 2 - Digital Download SKU: A0.1264565 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Glauco Fernandes. Film/TV,Instructional,Pop,Wedding. Score. 3 pages. Glauco Fernandes #857395. Published by Glauco Fernandes (A0.1264565). Easy Piano Sheet Music with Chords: What Was I Made For - Billie Eilish Elevate your musical skills with our exclusive easy piano sheet music with chords for the song What Was I Made For by the talented singer Billie Eilish. This captivating song is part of the soundtrack of the 2023 Barbie movie and is perfect for beginners, intermediate pianists, and anyone who enjoys the music.âœ”ï¸ Ideal for students and pianists of all levels: Our easy piano sheet music with chords is designed to be accessible for students and pianists of all skill levels. Whether you're a beginner or a more experienced musician, you can master this beautiful piece and impress with your interpretation.âœ”ï¸ From the Barbie movie soundtrack: What Was I Made For is one of the tracks from the soundtrack of the 2023 Barbie movie. With our sheet music, you can play this enchanting song during your practice sessions or performances, allowing you to be part of the magic of the film.âœ”ï¸ Captivating and emotional: Billie Eilish's music is known for its deep lyrics and engaging melodies. With our easy piano sheet music with chords, you can immerse yourself in Billie Eilish's musical world and bring the melody and emotion of What Was I Made For to life through your piano playing.âœ”ï¸ Professional quality: Our sheet music is created with a high standard of quality, ensuring an exceptional learning and performance experience. You will receive a complete and accurate score that provides all the necessary musical information for an authentic interpretation on the piano.âœ”ï¸ Instant and convenient access: Through our online sheet music sale platform, you'll have immediate access to the digital format of the What Was I Made For easy piano sheet music with chords. This allows you to start practicing and playing this exciting song right away.Enhance your musical skills and create memorable moments with the easy piano sheet music with chords for What Was I Made For by the talented Billie Eilish. Take this opportunity to immerse yourself in the music of one of the most acclaimed artists of our time. Start playing What Was I Made For today and let the beauty of Billie Eilish's music resonate through the keys of your piano.
$4.99
4.61 €
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Easy Piano
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Billie Eilish
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What Was I Made For?
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Glauco Fernandes
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SheetMusicPlus
Bach Fuga BWV 539 For Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
23.09 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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Bach Fuga BWV 539 For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.88 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.88 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.3 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 3 - Digital Download SKU: A0.889437 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Contemporary,Easter,Standards. 11 pages. Luis Anjos Teixeira #4741949. Published by Luis Anjos Teixeira (A0.889437). The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works. It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world. Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708. The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe, edited by Wilhelm Rust. The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. The Arrangement is relatively easy to perform, also appropriate for beginners. It is an ideal piece for advanced performers, this music touches deep into the Soul. The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement. Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form. Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo. I propose an interpretation for a modern woodwind quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. Have fun! It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design. Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$9.94
9.18 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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edited by Wilhelm Rust.
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Gottes Zeit ist die allerbeste Zeit - For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Tuba ensemble
Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Mil…
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Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.<br> <br> The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.<br> <br> In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.<br> <br> The recording was also issued as a V-Disc, No. 39A, in November 1943.<br> <br> The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".<br> <br> The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".<br> <br> "Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.<br> <br> A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.<br> <br> "Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.<br> <br> Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).<br> <br> "Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.<br> <br> Wartime release:<br> <br> The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99
12 €
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Tuba ensemble
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Glenn Miller
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Moonlight Serenade for Tuba Quintet
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Music for all Occasions
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SheetMusicPlus
J.S. Bach: Goldberg Variations, BWV 988: Var. 15 (as played by Víkingur Ólafsson) for piano
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1370523 By Johann Sebastian Bach an…
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Piano Solo - Level 4 - Digital Download SKU: A0.1370523 By Johann Sebastian Bach and VÃkingur Ólafsson. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional. Score. 4 pages. Flavio Regis Cunha #954867. Published by Flavio Regis Cunha (A0.1370523). J.S. Bach: Goldberg Variations, BWV 988: Var. 15 (as played by VÃkingur Ólafsson) for pianoAdvanced Intermediate. Format: Concert, 9 x 12 inches. 3 pages. PLUS: Engraved and Published with Urtext Kapellmeister Music Fonts.🎹 Unlock the Soul of Bach's Masterpiece! 🎶Calling all piano enthusiasts and maestros alike! 🌟 Immerse yourself in the timeless beauty of J.S. Bach's Goldberg Variations, BWV 988: Var. 15, as played by the virtuoso VÃkingur Ólafsson. 🎵✨ Why You'll Love This Sheet Music:1ï¸âƒ£ **Masterful Interpretation:** VÃkingur Ólafsson's emotive rendition captured on sheet music for your piano pleasure.2ï¸âƒ£ **Precision in Every Note:** Meticulously transcribed to ensure an authentic and enriching musical experience.3ï¸âƒ£ **Express Your Artistry:** Whether you're a seasoned pianist or a budding artist, this sheet music lets you express your musical soul.🌈 Unleash Your Passion for Music:Transform your playing into a breathtaking journey. Feel the resonance of each note as you bring Bach's genius to life on your piano. 🚀🎠Limited-Time Offer:Order now and receive exclusive access to a video tutorial by VÃkingur Ólafsson himself, offering insights into the nuances of this captivating variation.👉 Don't miss out on this opportunity to elevate your musicality! Order your sheet music now and let the Goldberg Variations become a masterpiece under your fingertips. 🎹✨🌟 Elevate your artistry – Bach's Goldberg Variations, BWV 988: Var. 15 awaits you! 🌟Celebrated for his visionary interpretations of J.S. Bach, VÃkingur Ólafsson, one of the greatest pianists and musical minds of today, now embraces Bach’s monumental Goldberg Variations. Ólafsson devotes his entire next season to touring the work globally across six continents, while October 2023 marks the anticipated album release on Deutsche Grammophon. “I have dreamed of recording this work for 25 years,†says the Icelandic pianist. The album follows Ólafsson’s hugely successful DG recording of works by the composer, Johann Sebastian Bach (2018), which won BBC Music magazine’s Album of the Year, Opus Klassik’s Solo Recital award, numerous other recording of the year accolades and led to him being named Gramophone magazine’s Artist of the Year. Now Ólafsson brings his unique musical vision, and an affecting, meticulous recorded sound to Bach’s masterpiece. It marks the first time Ólafsson records a complete work and he begins with one of the most demanding in the piano repertoire. Ólafsson dedicates his 2023-24 season to a Goldberg Variations world tour, performing the work across six continents throughout the year. He brings Bach’s masterpiece to major concert halls including London’s Southbank Centre, New York’s Carnegie Hall, Wiener Konzerthaus, Philharmonie de Paris, Tokyo’s Suntory Hall, Philharmonie Berlin, Harpa Concert Hall, Sydney Opera House, LA’s Walt Disney Hall, Sala São Paulo, Shanghai Symphony Hall, Tonhalle Zurich, KKL Luzern, Alte Oper Frankfurt, Mupa Budapest and Teatro Colón, to name a few. “The Goldberg Variations contain some of the most virtuosic keyboard music ever written, some of the most astonishingly brilliant uses of counterpoint in the repertoire and countless instances of exalted poetry, abstract contemplation and deep pathos – all within immaculately shaped structures of formal perfection. In 30 variations, built on the humble harmonic framework of a simple, graceful aria, Bach turns limited material into boundless variety like no one before or since. He is the greatest keyboard virtuoso of his time.†comments VÃkingur Ólafsson.
$6.99
6.46 €
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Piano solo
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Johann Sebastian Bach and VÃkingur Ólafsson
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J.S. Bach: Goldberg Variations, BWV 988: Var. 15
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Flavio Regis Cunha
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SheetMusicPlus
Three Chromicons for piano solo
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
11.08 €
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Piano solo
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!'
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.596525 Composed by Juan MarÃa So…
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Piano Solo - Level 4 - Digital Download SKU: A0.596525 Composed by Juan MarÃa Solare. 20th Century,Concert,Contemporary,Latin. Score. 7 pages. Juan Maria Solare #3621769. Published by Juan Maria Solare (A0.596525). The piano piece Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!' was composed in Bremen, Germany, in August 2018, for the project 45miniatures by pianist Nick Phillips. The overall character of this piece responds vaguely to Nicholas Phillips' suggestion: playful/childish outbursts, in the form of heckler chords or bad hombre-like non-chord tones. The title depicts a surrealistic, clownesque, ridiculous situation; a dream for some and a nightmare for others.For those totally unaware: the expression Bad Hombres was used by president Donald Trump during the third 2016 United States Presidential Debate. While answering a question about his immigration policy, Donald Trump stated that there were a lot of drug lords in the United States and that they needed to be removed. He concluded his comment by saying we have some bad hombres here and we have to get them out. (thus implying that the responsible of US' drug problems are Latinos)Character and moods: happy, merry, mysterious. About the performance All the piece consists of mini clusters (two minor seconds). The notation can be sometimes obscure (due to the many unavoidable accidentals). To facilitate the reading (deciphering) of the score, the easiest is to follow the highest note of each cluster: they usually form a simple chord. For instance, bar 17 is (melodically speaking) a F7 chord. Got it? L = Left Hand R = Right Hand The verbal comments along the music are not meant to be actually read aloud, but alla mente (like in some Satie's music). However, if you want to recite them at concert, go ahead.Juan MarÃa Solare (http://www.JuanMariaSolare.com)
$2.00
1.85 €
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Piano solo
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Juan MarÃa Solare
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Bad Hombres Jumping Over my Wall While Yelling '¡Arriba!, ¡Arriba!'
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Juan Maria Solare
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SheetMusicPlus
Elegy Sentimentale for Orchestra
Orchestra
Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemp…
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Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748). ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00
27.71 €
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Orchestra
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Keith Terrett
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Elegy Sentimentale for Orchestra
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Keith Terrett
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SheetMusicPlus
Elegy Sentimentale for Concert Band
Concert band
Concert Band - Digital Download SKU: A0.746749 Composed by Keith Terrett. Contempor…
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Concert Band - Digital Download SKU: A0.746749 Composed by Keith Terrett. Contemporary,World. 39 pages. Keith Terrett #3129275. Published by Keith Terrett (A0.746749). Here at last is my ’’Elegy sentimentale’’ for Concert Band, and an original composition.I hope it makes an excellent piece for amateur and professional bands alike; with some challenging and interesting woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00
27.71 €
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Concert band
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Keith Terrett
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Elegy Sentimentale for Concert Band
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Keith Terrett
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SheetMusicPlus
5 Classical Wedding Music for Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 2 - Digital Download SKU: A0.956899 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 2 - Digital Download SKU: A0.956899 Composed by Charles Gonoud, Edward Elgar, Felix Bartholdy Mendelssohn, Peter Ilyich Tchaikovsky, and Richard Wagner. Arranged by Woods Only. Christian,Film/TV,Romantic Period,Wedding,World. 62 pages. Woods Only, Arrangements #6476473. Published by Woods Only, Arrangements (A0.956899). This collection brings the most well-known and appropriate music for wedding ceremonies, arranged for woodwind quintet, where you can find music from beginner to professional levels of performance. They can be performed not only specifically in marriage ceremonies, but also in serenades, concerts, recitals and others. I. Ave Maria, Charles Gonoud/BACH The piece is composed of a melody by French Romantic composer Charles Gounod specially designed to overlap with Prelude No. Although published in instrumental versions and equipped for various texts during Gounod's lifetime, the claim that he never actually wrote it seems to be literally true. The version of Bach's prelude used by Gounod has the addition of a bar found only in the manuscript of Christian Friedrich Gottlieb Schwencke and the printed edition of Nikolaus Simrock which was based on it, but not in the other Bach manuscripts or the printed work of the scholar Bischoff or G. II. Dance of the Sugar Plum Fairy, Tchaikovsky The Dance of the Sugar Plum Fairy is a dance for a ballerina. Tchaikovsky introduced the celesta to Russian music lovers on 19 March 1892 when the Nutcracker Suite was performed for the Russian Musical Society in St. Petersburg. It is heard in other parts of Act 2 of The Nutcracker besides the Sugar Plum Fairy's dance. The Dance of the Sugar Plum Fairy is one of the ballet's best known musical numbers. The complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of The Nutcracker. III. Salut d'amour, Elgar It was not published by Schott & Co., a German publisher, with offices in Mainz, London, Paris and Brussels, until a year later, and the first editions were for violin and piano, piano solo, cello and piano, and for small orchestra. As a violin-and-piano piece Salut d'Amour had been recorded for The Gramophone & Typewriter Ltd (predecessor to The Gramophone Company) as early as 1901 by Jacques Jacobs, leader/director of the Trocadero Restaurant orchestra. IV. Nuptial March, Wagner It is a bridal march played at the entrance of many Western wedding ceremonies. In English-speaking countries, it is generally known as Here Comes the Bride or Wedding March, but wedding march refers to any piece in march tempo accompanying the entrance or exit of the bride, notably Felix Mendelssohn's Wedding March. Wagner's piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick William of Prussia in 1858. Unlike the current tradition of it being played at the beginning of the ceremony, the work is performed after the wedding of Lohengrin and Elsa in the opera. V. Wedding March, Mendelssohn Felix Mendelssohn's Wedding March in C major, written in 1842, is one of the best known of the pieces from his suite of incidental music. The first known instance of Mendelssohn's Wedding March being used at a wedding was when Dorothy Carew wed Tom Daniel at St Peter's Church, Tiverton, England, on 2 June 1847 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music and for whom Mendelssohn often played while on his visits to Britain.
$59.99
55.4 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Charles Gonoud, Edward Elgar, Felix Bartholdy Mendelssohn, Peter Ilyich Tchaikovsky, and Richard Wagner
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Co
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5 Classical Wedding Music for Woodwind Quintet
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Woods Only, Arrangements
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion (Mallet) Quartet
Percussion Ensemble
Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua …
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Percussion Ensemble - Level 3 - Digital Download SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Slide Ride (A0.784338). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Percussion Ensemble
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion
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Slide Ride
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SheetMusicPlus
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