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Numbered Places [11 pieces for piano solo]
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20…
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Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20th Century, Contemporary Classical, Minimalism, Neo-Classical, Repertoire. Score, Solo Part. 35 pages. Published by Juan Maria Solare
Juan María Solare: Numbered Places (eleven piano pieces) <br> <br> <br> <br> 01 - One Way Flight to... (2:50)<br> <br> 02 - Twopenny Loaf [USA] (3:45)<br> <br> 03 - Three Bridges [UK] (2:25)<br> <br> 04 - Four Oaks [USA] (3:00)<br> <br> 05 - Five Pointz [NYC] (3:45)<br> <br> 06 - Six Mile Bottom [UK] (2:40)<br> <br> 07 - Seven Kings [UK] (5:10)<br> <br> 08 - Eight Streets [USA] (5:55)<br> <br> 09 - Nine Elms [UK] (2:50)<br> <br> 10 - Ten Ten Road [NC, USA] (3:25)<br> <br> 11 - Eleven Lands [UK] (3:30)<br> <br> <br> <br> Totaltime: 39:15<br> <br> Numbered Places * piano * music by Juan María Solare<br> <br> <br> <br> The cycle Numbered Places startsfrom a simple idea: the piece nr. 1 would have a title that begins with theword One, the piece nr. 2 a titlethat begins with the word Two and soon up to an arbitrary number (in this case, eleven).<br> <br> <br> <br> For everything to have more cohesion, English names of different places orregions in either USA or (mainly) UK were used.<br> <br> <br> <br> In its own way, Numbered Placesis therefore a conceptual album - alreadyfrom the point of view of titles.<br> <br> <br> <br> Also musically, this world of sound has cohesion: instrumental piano music,neoclassical aesthetics (a somewhat broad concept that encompasses composerssuch as Erik Satie or Ludovico Einaudi), a certain simplicity in its surface.<br> <br> <br> <br> Let us briefly comment each of the titles:<br> <br> <br> <br> - One WayFlight to ...: The imaginary journey starts here. Each person will completethe sentence with the destiny of their choice.<br> <br> - TwopennyLoaf: This is a neighborhood (and geographically a cape) in the city ofGloucester, Essex County, Massachusetts, USA. It is believed to have gotten itsname because it is shaped like a (bread) loaf that at the time cost twopennies.<br> <br> - ThreeBridges: It is a city somewhere between London and Brighton, and a nodalpoint where trains typically split. Musically, the most minimalistic of all thecycle.<br> <br> - Four Oaks:There are numerous places so named, both in England and the US, and possibly inother countries. I can imagine that there were actually four oak trees planted near.<br> <br> - FivePointz: Neighborhood in Queens, New York. A graffiti mecca that wasdemolished in 2014 to build expensive buildings. And yes, it is spelled with zin this case.<br> <br> - Six MileBottom: Is a hamlet near Cambridge in England. The hamlet derives its namefrom its distance from the start of Newmarket Racecourse and because it lies ina valley bottom. There is no public transport. The old train station, closed in1967 for lack of use, is now a private residence.<br> <br> - SevenKings: It is a neighborhood in Ilford, East London. The earliest recordeduse of the name is as Sevekyngg or Sevekyngges in 1285, possibly meaning'settlement of the family or followers of a man called Seofoca'<br> <br> - EightStreets: it is a (very sought-after) neighborhood located in the heart ofthe historic South End of the city of Boston, Massachusetts, USA.<br> <br> - Nine Elms:a district of South West London. Nine Elms Lane was named around the year 1645,from a row of elm trees bordering the road.<br> <br> - Ten TenRoad: it is a place -actually the main road- in the town of Apex, NorthCarolina, USA.<br> <br> - ElevenLands: this place is mentioned in an old legal report from around 1782 asexisting in North London ("a place called Eleven Lands, containing fiveacres of arable, formerly Cosby's, beonging to a farm in the said parish ofBletcheley...", in " Acollection of the Reports of Cases, the Statutes, and Ecclesiastical Laws,relating to Tithes", volume 3). It has certainly changed its name.Musically, this last piece has a certain tango aura.<br> <br> <br> <br> <br> <br> Why eleven pieces and not more? The truth is that - incredibly as it mayseem - I didn't find any place called "Twelve" something. Yes thereare such names in other languages, but I wanted to keep some consistency. Thereare also pubs or bars called Twelvewhatever, but since they are not sponsoring my music, I had no motivation togive them free advertising at the moment.<br> <br> <br> <br> This album was released in early 2020 on Spotify, iTunes and allother online platforms through the label BlissRecordings in London (part of frtyfve).Find your favorite service here: https://frtyfve.lnk.to/NPVol1<br> <br> <br> <br> There are alsovideos of several pieces of this album. They are in the following playlist:<br> <br> https://www.youtube.com/playlist?list=PL70vQeCRYmkp3vEdIkdnjJyiU1aZ_u7HA
$11.00
10.15 €
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Piano solo
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Juan María Solare
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Numbered Places [11 pieces for piano solo]
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Juan Maria Solare
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SheetMusicPlus
Variations on Gordon ('My Jesus, I Love Thee')
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1352800 Composed by John Burkett. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.1352800 Composed by John Burkett. Arranged by John Burkett. Classical,Sacred. Score. 11 pages. John Burkett #937604. Published by John Burkett (A0.1352800). My Variations on the hymn tune Gordon (My Jesus, I Love Thee) are intended for church pianists looking for interesting arrangements of hymns familiar to their congregations. The four variations in this set display increasing rhythmic complexity as one plays them from beginning to end, ranging from continuous streams of eighth notes to eighth-note triplets to sixteenths. The first, and simplest, variation can be played alone. Variations 2-4 are written as a continuous group, though they too can be played individually if desired, by adding a conclusive tonic note in the bass. For the most part the pitches of the hymn tune are presented without ornamentation, though there are occasional exceptions. I have provided a full-length recording to aid the prospective buyer in the decision-making process. I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangements of mine, some for organ and others for piano.
$12.00
11.08 €
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Piano solo
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John Burkett
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Variations on Gordon
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John Burkett
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.14 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Six Open String Solos
Double bass, Piano (duet)
Double bass and piano - Grade 1 - Digital Download For Double Bass and Piano. Composed b…
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Double bass and piano - Grade 1 - Digital Download For Double Bass and Piano. Composed by Michael Montgomery. Original works. Score and solo part. 10 pages. LudwigMasters Digital #52740002. Published by LudwigMasters Digital
ISBN 9781682966037. 9 x 12 inches. For the very beginning of study, when learning the open string of the double bass and basic rhythms. Intended to be played pizzicato, and then arco, to build endurance. Bryton's G-String Groove; Three String Hop; The Lowdown on E; Early Morning Dance; Drifting; Hittin' All Four.
$6.95
6.41 €
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Double bass, Piano (duet)
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Michael Montgomery
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Six Open String Solos
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LudwigMasters Digital
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SheetMusicPlus
Four on Six by Wes Montgomery - Guitar Recorded Versions (with TAB), Guitar TAB Transcription/Guitar Recorded Versions (with TAB);Guitar TAB Transcription
Guitar notes and tablatures
Performed by: Wes Montgomery: Four on Six Digital Sheetmusic - instantly downloadable shee…
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Performed by: Wes Montgomery: Four on Six Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Guitar Tab;Instrumental Solo, instruments: Guitar; 8 pages -- Jazz~~Hard Bop~~Instrumental Jazz
$5.50
5.08 €
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Guitar notes and tablatures
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Wes Montgomery
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Guitar Recorded Versions (with TAB), Guitar TAB Transcription/Guitar Recorded Versions (with TAB);Guitar TAB Transcription
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Musicnotes
Three Concert Etudes for Solo Horn
French horn
French Horn Solo - Level 5 - Digital Download SKU: A0.817157 Composed by Richard De…
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French Horn Solo - Level 5 - Digital Download SKU: A0.817157 Composed by Richard Decker. 21st Century,Contemporary,Contest,Festival,Instructional. Individual part. 18 pages. Charles Decker Music Press #5770859. Published by Charles Decker Music Press (A0.817157). These three challenging concert etudes showcase multiple skills and styles for ambitious advanced hornists seeking to expand their musical horizons. Focusing thematically on the wider intervals of fourths, fifths, sixths, sevenths and ninths, the studies incorporate a variety of well-known and contemporary horn techniques. These concert etudes, performed either singly or as a set of three, offer an excellent non-accompanied variation to any recital. Performers are encouraged to approach these etudes as more than just technical exercises, and use the various markings as guidelines with flexibility to have the freedom to embrace the pauses, the accelerandi, the crescendi and the thematic repetitions to create engaging musical performances.  The audio file is an actual solo horn performance and not a computer playback of score.See also Richard Decker arrangement for horn ensemble with Charles Decker Music Press at Sheet Music Plus and this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$7.95
7.34 €
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French horn
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Richard Decker
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Three Concert Etudes for Solo Horn
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Charles Decker Music Press
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SheetMusicPlus
Viola, the Essential Technique: Three Octave Parallel Scales, Arpeggios and Double Stops (Thirds, Sixths and Octave)
Viola
Composed by Viorel Tudor, Daniela Tudor. General Worship, Technique Training. Solo P…
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Composed by Viorel Tudor, Daniela Tudor. General Worship, Technique Training. Solo Part. 60 pages. Published by Published by Viorel Tudor
Would you like toplay the viola well, with a solid technique and impeccable intonation? We allknow that to do this you have to start from the beginning. That is, withscales. In this volume you can find them all, in three octaves and presented inan innovative, interesting and fun way. For the first time you can study themgrouped into parallel (or “homophone”) keys, which is what scales that begin inthe same tone are called (e.g. C major-C minor, B Major-B minor etc.). In thesame way, you will practice the corresponding arpeggios, also in three octaves,followed by scales on double stops (thirds, sixths and eighths). All of this,with specific fingering for the viola, and with a focus on original technicalsolutions, that make the study considerably easier. The benefits gained fromstudying the scales grouped in this way are enormous, and they ensure that youwill achieve an excellent intonation.Both ways (major and minor), share the same physical space on the Viola’sfingerboard; they also share four of the seven sounds of the scale, which makesvery easy to recognise the different ones. Another innovative technique is the intonationcontrol semibreve, located eitherbelow or above various sounds of the scale. Each semibreve highlights theneed to check the tuning of the sound that accompanies, with the open string thatit indicates, since this is practically the only possible way of verifying thetuning. To sum up, this book proposes an innovative method of studying scales,as a result of the author’s many years of orchestra and teachingexperience.
$19.00
17.54 €
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Viola
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Viorel Tudor, Daniela Tudor
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Viola, the Essential Technique: Three Octave Parallel Scales, Arpeggios and Double Stops
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SheetMusicPlus
Spring (from The Four Seasons) - Level 1 Piano
Easy Piano
Piano Solo, Easy Piano - Easy/Beginner - Digital Download Composed by Antonio Vivaldi…
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Piano Solo, Easy Piano - Easy/Beginner - Digital Download Composed by Antonio Vivaldi (1678-1741). Arranged by Maria Colletti. Classical Period, Children's Music. Sheet Music Single. 2 pages. Published by Maria Colletti
This is a short, big note/beginner arrangement of “Spring” intended for students who are just learning to read music and are currently studying Level 1 piano, though it may also be a fun, easy song for students who are just starting Level 2.<br> <br> All Maria Colletti’s arrangements are carefully edited to be accessible for young students who have been playing piano for approximately six months to two years. <br> <br> Unnecessary and confusing notations have been omitted for the benefit of very young students. Some finger number suggestions are given, but plenty of space is left in the music for students to figure out the notes on their own.
$2.99
2.76 €
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Easy Piano
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Antonio Vivaldi (1678-1741)
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Spring
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Maria Colletti
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SheetMusicPlus
The Year of the Trumpeter (piano reduction)
Trumpet, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sac…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009. <br> <br> Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.<br> <br> Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society’s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.<br> <br> Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.<br> <br> Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.<br> <br> Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$15.00
13.84 €
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Trumpet, Piano
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
The Wedding Album, for Solo Trumpet and Piano
Trumpet, Piano
Piano Accompaniment, Trumpet - Intermediate - Digital Download Composed by Various. A…
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Piano Accompaniment, Trumpet - Intermediate - Digital Download Composed by Various. Arranged by David McKeown. Romantic Period, Baroque Period, Repertoire, Wedding, Recital. Score, Solo Part. 24 pages. Published by David McKeown
The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Trumpet with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. <br> <br> Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. <br> <br> The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as “Here Comes the Bride”. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.<br> <br> The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on the“trumpet stop”. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. <br> <br> Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.
$9.99
9.22 €
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Trumpet, Piano
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Various
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The Wedding Album, for Solo Trumpet and Piano
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David McKeown
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SheetMusicPlus
The Wedding Album, for Solo Horn in F and Piano
French Horn and Piano
Piano Accompaniment, Horn in F, French Horn - Digital Download Composed by Various. A…
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Piano Accompaniment, Horn in F, French Horn - Digital Download Composed by Various. Arranged by David McKeown. Romantic Period, Baroque Period, Repertoire, Wedding, Recital. Score, Solo Part. 24 pages. Published by David McKeown
The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Horn in F with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. <br> <br> Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. <br> <br> The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as “Here Comes the Bride”. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.<br> <br> The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on the“trumpet stop”. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. <br> <br> Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.
$9.99
9.22 €
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French Horn and Piano
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Various
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The Wedding Album, for Solo Horn in F and Piano
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David McKeown
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SheetMusicPlus
London Town Fantasy for Trombone and Piano
Trombone and Piano
Piano Accompaniment, Trombone - Advanced - Digital Download Composed by Antonio J. Ga…
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Piano Accompaniment, Trombone - Advanced - Digital Download Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. Published by Cherry Classics Music
Virginia Commonwealth University Professor Antonio J. García has taken Haydn’s “London” Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would “showcase the trombone in a jazz ballad style and somehow reference the Haydn ‘London’ Symphony” that would follow it on the program, knowing that the first half of the concert would also include the Brahms “Variations on a Theme of Joseph Haydn.” She and trombone soloist Nathan Dishman suggested the title “London Town Fantasy,” envisioning a potential intersection with elements of George Gershwin’s “A Foggy Day (In London Town),” which seemed apt given a scheduled trip of García’s to London during the compositional process.<br> <br> Listeners familiar with Haydn's “London” Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony’s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the “bridge” section of the tune is crafted from the first seven measures of the opening theme of Haydn’s first movement (Allegro).<br> <br> The use of “A Foggy Day” had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin’s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of “A Foggy Day.” (An optional written-out solo is provided.)<br> <br> Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).<br> <br> The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or “minus one,” make rehearsals easy and even provide the aural basis for your own potential “virtual” performance.
$27.50
25.38 €
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Trombone and Piano
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Antonio J
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London Town Fantasy for Trombone and Piano
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Cherry Classics Music
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SheetMusicPlus
Concertino for Tuba (piano reduction)
Tuba and Piano
Composed by Gregory Fritze. 21st Century, 20th Century, Contemporary Classical, Neo- …
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Composed by Gregory Fritze. 21st Century, 20th Century, Contemporary Classical, Neo- Classical, Recital. Piano Reduction, Solo Part. 31 pages. Published by Musica Nova USA
Concertino for Tuba was written in 2016 as a piano transcription to both the versions for band and orchestra, composed in 2003 and 2005, respectively. The duration is 13 minutes. The band version is grade 4 with the solo tuba grade 5. The solo tuba and band orchestration was adapted from Concertino for Euphonium and Band commissioned by the United States Army Band “Pershing’s Own” in 1995. In 2002 Gary Bird asked me to compose a piece for him with band that was to be premiered by the Volga Band of Saratov, Russia conducted by Mary Ann Craig in 2004. Gary knew several of my compositions and asked me to compose a piece similar my Concertino for Euphonium and Band that was composed for Bob Powers and the United States Army Band. In 2004 Gary told my that he would be playing a solo with the Johnstown Symphony Orchestra and asked me to do a version for symphony orchestra. It was premiered by the Johnstown Symphony Orchestra; Istvan Jaray, Conductor in 2006. The orchestral version was recorded by Gary Bird and the Oak Grove Symphony Orchestra; Jack Stamp, Conducting. It is on the CD Tuba Safari on Albany Records. The band version was recorded by Gary Bird and the IUP Wind Ensemble; Jack Stamp, Conducting. Concertino for Tuba and Orchestra was a Semi Finalist Winner in the American Prize Composition Competition – Orchestra Division in 2017, the only concerto awarded a prize in the Orchestra Division that year.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.46 €
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Tuba and Piano
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Gregory Fritze
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Concertino for Tuba
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Musica Nova USA
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SheetMusicPlus
Con-Tse-To
Alto Saxophone and Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, …
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica Nova USA
Con-Tse-To – a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements – 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.<br> <br> The first movement – Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe “Trio” section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient’s wife. Kenneth Tse’s wife’s name is Melanie so this movement is dedicated to her.<br> <br> The second movement – Lamento was adapted from a melody of mine “El año del Trumpetista” originally composed in 2010. I thought the beautiful sound of Dr. Tse’s saxophone playing would be very complimentary for this melody.<br> <br> The third movement – Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.<br> <br> Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.<br> <br> The piano transcription was done by Derek Remeš.
$20.00
18.46 €
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Alto Saxophone and Piano
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Gregory Fritze
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Con-Tse-To
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Musica Nova USA
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SheetMusicPlus
Four on Six - Bb Solo Sheet
Level 4 - Digital Download SKU: HX.390023 By John Abercrombie, John Scofield, and W…
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Level 4 - Digital Download SKU: HX.390023 By John Abercrombie, John Scofield, and Wes Montgomery. Arranged by Mike Tomaro. This edition: scorch. Blues,Jazz. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.390023).
$6.00
5.54 €
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John Abercrombie, John Scofield, and Wes Montgomery
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Four on Six - Bb Solo Sheet
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Hal Leonard - Digital
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SheetMusicPlus
Quiet In Six-Four Time, Solo Harp
Harp
Harp - Digital Download SKU: A0.1058673 Composed by Cindy Blevins. Contemporary,New…
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Harp - Digital Download SKU: A0.1058673 Composed by Cindy Blevins. Contemporary,New Age. Full Performance. Duration 142. Cindy Blevins #3113005. Published by Cindy Blevins (A0.1058673). This mp3 was recorded playing my Blevins harp. The sheet music for this original harp piece is available here on Sheet Music Plus. It is Item # S0.240771. It is a solo for lever or pedal harp. You can just enjoy listening, or if you are a harpist and have the sheet music, you can hear how the arrangement sounds and play along.
$1.99
1.84 €
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Harp
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Cindy Blevins
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Quiet In Six-Four Time, Solo Harp
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Cindy Blevins
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SheetMusicPlus
When I'm Sixty-Four
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1472534 By The Beatles. By John Lennon and Paul McCartney. Arranged by Sarah Cellobat Chaffee. Film/TV,Pop,Rock,Wedding. 18 pages. Sarah Cellobat Chaffee #1050182. Published by Sarah Cellobat Chaffee (A0.1472534). Everyone loves the Beatles! This arrangement of When I'm Sixty-Four for string quartet has fun rhythms, great harmonies, and is perfect for weddings, receptions, cocktail parties, solo & ensemble contests, and any other event that needs some vintage rock & roll! Intermediate-level arrangement with a few tricky rhythms and some weird accidentals - this will be learnable for students and sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
$16.99
15.68 €
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String Quartet: 2 violins, viola, cello
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The Beatles
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When I'm Sixty-Four
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Sarah Cellobat Chaffee
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SheetMusicPlus
When I'm Sixty-Four
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1468408 By The Beatles. By John Lennon and Paul McCartney. Arranged by Sarah Cellobat Chaffee. Film/TV,Pop,Rock,Wedding. 18 pages. Sarah Cellobat Chaffee #1046722. Published by Sarah Cellobat Chaffee (A0.1468408). Everyone loves the Beatles! This arrangement of When I'm Sixty-Four for string quartet has fun rhythms, great harmonies, and is perfect for weddings, receptions, cocktail parties, solo & ensemble contests, and any other event that needs some vintage rock & roll! Intermediate-level arrangement with a few tricky rhythms and some weird accidentals - this will be learnable for students and sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
$16.99
15.68 €
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String Quartet: 2 violins, viola, cello
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The Beatles
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When I'm Sixty-Four
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Sarah Cellobat Chaffee
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SheetMusicPlus
When I'm Sixty-Four
Trumpet
B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1369812 By The Beatles. By…
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B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.1369812 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954180. Published by Rene Alves (A0.1369812). Trumpet sheet music in B flat from the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Trumpet
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The Beatles
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When I'm Sixty-Four
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Rene Alves
#
SheetMusicPlus
When I'm Sixty-Four
Alto Saxophone
Alto Saxophone Solo - Level 1 - Digital Download SKU: A0.1369797 By The Beatles. By…
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Alto Saxophone Solo - Level 1 - Digital Download SKU: A0.1369797 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954165. Published by Rene Alves (A0.1369797). Alto sax sheet music for the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Alto Saxophone
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The Beatles
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When I'm Sixty-Four
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Rene Alves
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SheetMusicPlus
When I'm Sixty-Four
Cello
Cello Solo - Level 1 - Digital Download SKU: A0.1369815 By The Beatles. By John Len…
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Cello Solo - Level 1 - Digital Download SKU: A0.1369815 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954183. Published by Rene Alves (A0.1369815). Cello sheet music for the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Cello
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The Beatles
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When I'm Sixty-Four
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Rene Alves
#
SheetMusicPlus
When I'm Sixty-Four
Tenor Saxophone
Tenor Saxophone Solo - Level 1 - Digital Download SKU: A0.1369809 By The Beatles. B…
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Tenor Saxophone Solo - Level 1 - Digital Download SKU: A0.1369809 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954177. Published by Rene Alves (A0.1369809). Tenor sax sheet music for the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Tenor Saxophone
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The Beatles
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When I'm Sixty-Four
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Rene Alves
#
SheetMusicPlus
When I'm Sixty-Four
Trombone
Trombone Solo - Level 1 - Digital Download SKU: A0.1369810 By The Beatles. By John …
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Trombone Solo - Level 1 - Digital Download SKU: A0.1369810 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954178. Published by Rene Alves (A0.1369810). Trombone sheet music for the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Trombone
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The Beatles
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When I'm Sixty-Four
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Rene Alves
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SheetMusicPlus
When I'm Sixty-Four
Soprano Saxophone
Soprano Saxophone Solo - Level 1 - Digital Download SKU: A0.1369807 By The Beatles.…
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Soprano Saxophone Solo - Level 1 - Digital Download SKU: A0.1369807 By The Beatles. By John Lennon and Paul McCartney. Arranged by Rene Alves. Multicultural,Patriotic,Pop,Rock,Wedding,World. Individual part. 2 pages. Rene Alves #954175. Published by Rene Alves (A0.1369807). Soprano sax sheet music for the song When I'm Sixty-Four - beatles. The sheet music is large, great for reading on tablets.
$6.00
5.54 €
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Soprano Saxophone
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The Beatles
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When I'm Sixty-Four
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Rene Alves
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SheetMusicPlus
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