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You've selected:
Fourths and Fifths
Sheetmusic to print
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Fourths and Fifths
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.969612 Composed by Adriana Janse va…
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Piano Solo - Level 3 - Digital Download SKU: A0.969612 Composed by Adriana Janse van Rensburg. 20th Century,Concert,Contemporary,Standards. Score. 2 pages. Adriana Janse van Rensburg #2002119. Published by Adriana Janse van Rensburg (A0.969612). Piano solo for the intermediate piano student. Piano percussion part, fast tempo, pounding rhythmical beat, toccata-style fourths and fifths for both hands. Lots of fun for students looking for fast and loud show-off pieces!
$2.99
2.69 €
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Piano solo
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Adriana Janse van Rensburg
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Fourths and Fifths
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Adriana Janse van Rensburg
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SheetMusicPlus
The Dark Knight and the Serpent Ring
Concert band
Concert Band - Beginning - Digital Download SKU: B0.PDF-BAND-FRA-269 Composed by Li…
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Concert Band - Beginning - Digital Download SKU: B0.PDF-BAND-FRA-269 Composed by Linda Bange. Multicultural. Score and Parts. 23 pages. PDF Band Music #PDF-BAND-FRA-269. Published by PDF Band Music (B0.PDF-BAND-FRA-269). 8.5 x 11 inches.Venture back into the Middle Ages to the time of knights in shining armor. Knights roamed the countryside on horseback searching for treasure while protecting castles, kings, and queens with loyalty to each other.  Open parallel fifths and fourths create a unique and dramatic sound of the historic era. Your students will be mesmerized by this unusual piece is in triple meter.
$38.70
34.81 €
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Concert band
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Linda Bange
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The Dark Knight and the Serpent Ring
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PDF Band Music
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SheetMusicPlus
Songs of My Aims - for soprano and piano
Voice solo
Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.886113 Composed by Jason McCh…
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Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.886113 Composed by Jason McChristian. Arranged by Text by Walt Whitman. Concert,Contemporary,Folk,Patriotic. 26 pages. Jason Gary McChristian #238175. Published by Jason Gary McChristian (A0.886113). I. Germs - Referencing the idea of small details making up larger formations, as expressed in the Whitman poem, I created a brief gesture made of cascading pitches. This gesture progresses throughout the work and varies texturally and harmonically. ​ ​II. Voices - This song features flourishes of arpeggios and flowing triplets signifying the joy expressed by the poem’s narrator. ​ ​III. When I Heard the Learn’d Astronomer - The narrator of this poem was not swayed by the lecturer’s sterile and purely academic approach to astronomy, but instead found wonder in the stars by simply gazing upward. This song begins with alternating couplings of fourths and fifths in the highest register of the piano, depicting the uninspiring calculations of the lecturer. Bell-like gestures mark a return to a more awe-inspiring and sincere fascination of the stars. ​ ​IV. Thoughts - This final song conveys a musical sense of finality expressed in tits text. Utilizing quartal and quintal sonorities, this song takes on a patient and passive quality. As the narrator of the poem alludes to mortality, then finally states Death, the music becomes more chromatic, creating tense agitation. The passive quality returns quickly, however, and the work gently comes to a close.
$14.99
13.49 €
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Voice solo
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Jason McChristian
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Songs of My Aims - for soprano and piano
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Jason Gary McChristian
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SheetMusicPlus
Almighty God, How Strong and True (Downloadable)
Choral SATB
SATB choir and Piano - Moderately Easy - Digital Download SKU: MQ.50-4059-E Compose…
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SATB choir and Piano - Moderately Easy - Digital Download SKU: MQ.50-4059-E Composed by Jay Althouse. 21st Century, Grace, Hope/Assurance. 7 pages. MorningStar Music Publishers - Digital Sheet Music #50-4059-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-4059-E). English.The presence of fourths and fifths in the melody and harmonization give his anthem a timeless strength. Yet there is still tenderness as the text (based loosely on a text by Horatius Bonar) speaks of God's gentle grace. The music effectively contrasts the eternal and the new, making this anthem approachable and useful for any choir.
$2.25
2.02 €
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Choral SATB
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Jay Althouse
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Almighty God, How Strong and True
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Fanfare for the Common Kid
Concert band
Concert Band - Beginning - Digital Download SKU: B0.PDF-BAND-FRA-294 Composed by Li…
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Concert Band - Beginning - Digital Download SKU: B0.PDF-BAND-FRA-294 Composed by Linda Bange. Multicultural. Score and Parts. 25 pages. PDF Band Music #PDF-BAND-FRA-294. Published by PDF Band Music (B0.PDF-BAND-FRA-294). 8.5 x 11 inches.Fanfare for the Common Kid pays homage to the legacy of the American Composer Aaron Copland. The original Fanfare for the Common Man has great strength using only brass and percussion instruments and it was written in response to the US entry into World War II. The harmonic structure of Fanfare for the Common Kid is reminiscent of the open fourths and fifths in the melodic line along with the imitation in parts style that was used by Copland.
$38.70
34.81 €
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Concert band
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Linda Bange
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Fanfare for the Common Kid
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PDF Band Music
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SheetMusicPlus
Carol of the Bells
Handbells
Handbells 3 Octave Handbells - Level 2 - Digital Download SKU: H1.1108DP Composed b…
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Handbells 3 Octave Handbells - Level 2 - Digital Download SKU: H1.1108DP Composed by Douglas E. Wagner. Christmas, Sacred. Handbell score. 8 pages. Hope Publishing - Digital #1108DP. Published by Hope Publishing - Digital (H1.1108DP). Traditional Ukrainian Carol by Mykolo Leontovich This traditional Ukrainian Carol arranged for 3 octaves of bells includes some original material. Intervals of fourths and fifths on the first two pages give the beginning and interlude an Asian sound, before proceeding into the familiar melody. A bells assignment chart for ringing this piece with four ringers is included in the book Impossible Ringing Made Possible (HP1108). This version is arranged in f# minor and is 82 measures with repeats.
$5.75
5.17 €
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Handbells
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Douglas E
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Carol of the Bells
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Hope Publishing - Digital
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SheetMusicPlus
Adages for Tuba/Euphonium Quartet
2 Euphoniums and 2 Tubas
Brass Ensemble Euphonium,Tuba - Level 5 - Digital Download SKU: A0.755334 Composed …
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Brass Ensemble Euphonium,Tuba - Level 5 - Digital Download SKU: A0.755334 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 48 pages. Sy Brandon #6607353. Published by Sy Brandon (A0.755334). I. The grass is always greener on the other side of the fence. The interpretation of this adage is that one always wants what someone else has instead of accepting one’s own uniqueness. During the movement, counterpoint is used to depict one instrument copying another. Towards the middle of the movement, tuba 2 eventually realizes its independence and states a bold melody of its own. The movement ends with the euphonium 1 playing its melody alone with pauses between the phrases as if looking over its shoulder wondering where the other musicians are. II. Absence makes the heart grow fonder. This setting represents a growing love despite the emptiness of being apart. Hollow intervals of fourths and fifths representing longing, occur at the beginning and end. A short love duet between two instruments occurs in the middle. III. Time flies when you are having fun. A rollicking six-eight meter is used to represent a children’s game of tag. There is a lot of alternation of short phrases as if one instrument is trying to tag the other and the other is trying to avoid being tagged. The dissonance and short accented notes represent taunting. IV. Every cloud has a silver lining. This movement is a prayer-like setting with alternation of minor and major harmonies representing the cloud and the silver lining respectively. V. He who hesitates is lost. This movement is very rhythmic and syncopated with the instruments alternating phrases in the manner of a call and response. It calls for split-second precision between the performers, therefore representing the adage. VI. A rolling stone gathers no moss. The last movement is a perpetual motion in a rolling six-eight meter. The musical ideas are very chromatic with the exception of main theme that appears first as a solo melody, then as several instruments together, and later as instruments in imitation. Towards the end, there are a few brief pauses and low accented notes as a life of activity has a few bumps along the way.
$9.99
8.99 €
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2 Euphoniums and 2 Tubas
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Sy Brandon
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Adages for Tuba/Euphonium Quartet
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Sy Brandon
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SheetMusicPlus
Six Short Studies, Fourths And Fifths
Piano solo
Piano - Digital Download SKU: HX.236279 By David Horne. Classical. 4 pages. Hal Leo…
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Piano - Digital Download SKU: HX.236279 By David Horne. Classical. 4 pages. Hal Leonard - Digital #517038. Published by Hal Leonard - Digital (HX.236279).
$4.99
4.49 €
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Piano solo
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David Horne
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Six Short Studies, Fourths And Fifths
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Hal Leonard - Digital
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SheetMusicPlus
The Morning Trumpet ? brass quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Composed by Benjamin Franklin White (1800-1879). Arranged by Todd Marchand. Christian, Gos…
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Composed by Benjamin Franklin White (1800-1879). Arranged by Todd Marchand. Christian, Gospel, Sacred, General Worship, Americana. Score, Set of Parts. 16 pages. Published by Con Spirito Music (S0.222763). - Score,Set of Parts - Christian,Gospel,Sacred,General Worship,Americana - Con Spirito Music
?The Morning Trumpet,? by Benjamin Franklin White (1800-1879), is a camp revival song published in 1844 in the first edition of The Sacred Harp, a shape-note hymn book compiled by White and E.J. King (1821-1844). Shape-note tunes are often predominantly pentatonic, with harmonies that emphasize stark intervals of fourths and fifths. In four-part harmony, the tune is typically in the tenor voice. This arrangement preserves the tune but harmonizes it in a more contemporary style, and features alternating calls between first and second trumpet. Includes snare drum part (optional, may be successfully performed by brass quintet alone). ©Copyright 2012 Todd Marchand / ConSpiritoMusic.com
$15.00
13.49 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Benjamin Franklin White
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The Morning Trumpet ? brass quintet
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Con Spirito Music
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SheetMusicPlus
Brass Quartet - A Foregone Conclusion
Brass ensemble
Brass Ensemble - Level 5 - Digital Download SKU: A0.767318 Composed by Mike Lyons. …
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Brass Ensemble - Level 5 - Digital Download SKU: A0.767318 Composed by Mike Lyons. Concert,Contemporary. Score and parts. 46 pages. Lyons Music Services #3465944. Published by Lyons Music Services (A0.767318). This is a brand new work for brass quartet, using brass band instrumentation: Cornet (doubling Flugelhorn), Tenor Horn, Baritone Horn and Euphonium.It was written as a submission for a new brass quartet (A4 Brass Quartet) comprising musicians from the RNCM, but didn't get selected. Each movement is based on the ensemble's name and contains a pun on A4. Each movement also has fourths involved in it somewhere.The first movement is called Aforethought (because it contains my initial ideas) and it uses a mixture of tonal and quartal harmonies. Melodies and harmony are based around fourths and fifths. It requires all players to be able to flutter-tongue. After the opening fanfare, there is a march-like melody on the cornet, accompanied by the rest of the ensemble. This is followed by a contrasting tune using intervals of a fourth. These ideas are developed over several keys until the first march-like melody returns. The fanfare idea closes the movement.The second movement is called Aforementioned. It takes its ideas from the first movement, but gives them a bluesy style. The cornet player changes to the flugelhorn for this movement which has a beautiful languid melody. The horn shares some of the glory towards the end.The third and final movement is called Aphorhythm (A4 rhythm) and is in 7/8 time. The jerky little melody plays with the pulse of the 7/8 and smoothly morphs into a steadier 'middle 8' section before reprising the opening music.Altogether, this is an enjoyable and exciting piece for brass quartet..
$25.00
22.49 €
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Brass ensemble
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Mike Lyons
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Brass Quartet - A Foregone Conclusion
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Lyons Music Services
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SheetMusicPlus
Piano Sight-Reading 3
Piano solo
Piano - intermediate to advanced - Digital Download SKU: S9.Q19481 A fresh appro…
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Piano - intermediate to advanced - Digital Download SKU: S9.Q19481 A fresh approach. This edition: Sheet music. Schott Sight-Reading Series. This book of pieces aims to establish good practice and provide an early introduction to the essential skill of sight-reading. Downloadable. Op. 3. Schott Music - Digital #Q19481. Published by Schott Music - Digital (S9.Q19481). English • French • German.A self-learning approach for sight-reading based on the recognition of rhythmic and melodic patterns. - 136 graduated exercises - both hands treated equally - begins with four notes in each hand - introduction of the intervals of fourths and fifths - gradual extension of the range of notes, the keys and the variety of rhythms - short pieces in familiar style using known fingerings - introduction of easy pieces for the simultaneous use of both hands.
$13.99
12.59 €
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Piano solo
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Piano Sight-Reading 3
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Schott Music - Digital
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SheetMusicPlus
TE DEUM - Score Only
Orchestra
Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINT…
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Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published by OE OFICINA (A0.1112762). Para 4 voces mixtas y orquesta sinfónica - I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$24.99
22.48 €
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Orchestra
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LORENZO ONDARRA QUINTANA
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TE DEUM - Score Only
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OE OFICINA
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SheetMusicPlus
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
Orchestra
Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINT…
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Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published by OE OFICINA (A0.1112703). Para 4 voces mixtas y orquesta sinfónica - REDUCCIÓN A 4 voces mixtas y piano In I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$14.90
13.4 €
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Orchestra
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LORENZO ONDARRA QUINTANA
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TE DEUM Reducción para piano y 4 voces mixtas - Score Only
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OE OFICINA
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SheetMusicPlus
All in a Garden Green
Easy Piano
Easy Piano - Level 2 - Digital Download SKU: A0.947613 Composed by Traditional Engl…
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Easy Piano - Level 2 - Digital Download SKU: A0.947613 Composed by Traditional English. Arranged by Laura Glassel. Celtic,Folk. Score. 2 pages. Laura Glassel #5316143. Published by Laura Glassel (A0.947613). This is a cheerful arrangement of the traditional English tune. The right hand carries the melody and involves broken intervals, scales, and shifting hand positions. The left hand involves thirds, fourths, and fifths. Written in G major. 30 measures long.
$3.99
3.59 €
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Easy Piano
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Traditional English
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All in a Garden Green
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Laura Glassel
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestra
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.49 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestra
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
22.49 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestra
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.49 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
God rest ye merry, gentlemen
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.782826 Composed by Traditional Engl…
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Piano Solo - Level 2 - Digital Download SKU: A0.782826 Composed by Traditional English Carol. Arranged by Nicholas Palmer. 20th Century,Christmas,Standards. Score. 3 pages. Nicholas D Palmer #6064459. Published by Nicholas D Palmer (A0.782826). This is a new arrangement of this familiar carol for early intermediate pianists, especially those studying fourths and fifths. The modulation in the middle adds freshness to the arrangement and allows the pianist to explore a bit more of the keyboard without being given too many difficulties in reach or complication.
$3.99
3.59 €
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Piano solo
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Traditional English Carol
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God rest ye merry, gentlemen
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Nicholas D Palmer
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SheetMusicPlus
Mysterium Tremendum
Small Ensemble Multi-Percussion,Organ,Timpani - Level 4 - Digital Download SKU: A0.9767…
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Small Ensemble Multi-Percussion,Organ,Timpani - Level 4 - Digital Download SKU: A0.976702 Composed by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 65 pages. WheatMyer Music #3506367. Published by WheatMyer Music (A0.976702). MYSTERIUM TREMENDUM is an instrumental doxology (Trinitarian hymn of praise) with unique leitmotifs of adoration and praise for each member of the Trinity. God the Father is portrayed in unisons and octaves symbolizing His perfections; God the Son is portrayed in descending perfect fourths and fifths along with tritones displaying His complete divinity along with being a man of sorrows; God the Holy Spirit is set in free-flowing lines combining elements of both prior motives as if emanating from the Father and the Son.MYSTERIUM TREMENDUM features Organ and Timpani , requiring competent musicians on both instruments, but includes characteristic and unusual colors and accents from across the percussion family. It is a moderately large work allowing development of each theme in a broad spectrum of expressions from each instrument. The work climaxes on a reharmonized quotation from the tune NICEA, better known as Holy, Holy, Holy, expressing worship of the Godhead as blessed trinity. MYSTERIUM TREMENDUM is suitable for the concert stage or for instrumental worship.The sheet music package contains a full score and separate parts for organ, timpani, and percussion. The timpani and percussion parts include an organ reduction for coordination among players. Thus, the piece may be either conducted or performed as an independent ensemble.Find more music at https://wheatmyermusic.com/portfolio/ and my Facebook page: https://www.facebook.com/WheatMyerMusic/
$14.99
13.49 €
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Robert Myers
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Mysterium Tremendum
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WheatMyer Music
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SheetMusicPlus
The Magi
Digital Download SKU: OX.9780193570658 Composed by Cecilia McDowall. Score. 15 page…
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Digital Download SKU: OX.9780193570658 Composed by Cecilia McDowall. Score. 15 pages. Oxford University Press Digital #9780193570658. Published by Oxford University Press Digital (OX.9780193570658). ISBN 9780193570658.For SSATB unaccompanied. McDowall brings to life a mystical, brooding nativity text by Nicholas Dakin with dramatic octatonic melodies and parallel movement in fourths and fifths. The propulsive 6/8 metre is decorated with duplet and hemiola rhythms.
$3.65
3.28 €
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Cecilia McDowall
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The Magi
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Oxford University Press Digital
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SheetMusicPlus
Donkey Call
Choral Unison
Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.727137 Composed by Carol…
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Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.727137 Composed by Carol Troutman Wiggins. Children,Country,Folk,Instructional,Traditional. Octavo. 2 pages. Carol Troutman Wiggins #2912119. Published by Carol Troutman Wiggins (A0.727137). Unison with Optional Tambourines, Sticks, or Wood BlocksThis square-dance style song is perfect for getting those elementary students off their feet and onto the dance floor! Swing-arounds, promenades and do-si-dos help the donkey say, Hee Haw. Intervals of fourths and fifths
$2.50
2.25 €
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Choral Unison
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Carol Troutman Wiggins
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Donkey Call
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Carol Troutman Wiggins
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SheetMusicPlus
Intermediate Serial Studies for Trumpet
Trumpet
Trumpet - Level 4 - Digital Download SKU: A0.817142 Composed by Charles Decker. Con…
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Trumpet - Level 4 - Digital Download SKU: A0.817142 Composed by Charles Decker. Contemporary,Instructional. Educational Exercises. 25 pages. Charles Decker Music Press #4112429. Published by Charles Decker Music Press (A0.817142). Cited by the International Trumpet Guild Journal as a great introduction to the world of atonal music, Intermediate Serial Studies for Trumpet bridges the gap between tonal music and more difficult atonal literature with 20 short twelve-tone studies set primarily in the middle and lower registers. Settings vary from lyrical to marcato and tempos range from adagio to allegro. Using serial twelve-tone technique, each study's tone row is used only in original and retrograde (reversed) forms. Interval review in the studies begins with seconds and gradually expands to focus on thirds, fourths, tritones, fifths, sixths and sevenths. While 14 different time signatures are presented, beat subdivisions are not complex to facilitate precise rhythmic execution. Atonal music need not be barren of musical expression as applying creative interpretation with technical accuracy can make the music vibrant and exciting.See also with Charles Decker Music Press at Sheet Music Plus my Supplemental Practice Approaches for Trumpet and First Technical Studies for Trumpet that help develop trumpeters' skills and musicianship.If looking for trumpet solo features with brass quintet check out my SMP editions of Clarke’s Carnival of Venice, Puccini’s Che Gelida Manina from La Boheme, Verdi's Caro Nome from Rigoletto, Rossini's Non Piu Mesta from Cinderella, Sasche Concertino for Eb Cornet of 1871, and use this link to Kendor Music for my editions of Clarke’s Bride of the Waves and Nestico’s Portrait of a Trumpet. 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.
$9.95
8.95 €
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Trumpet
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Charles Decker
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Intermediate Serial Studies for Trumpet
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Charles Decker Music Press
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SheetMusicPlus
Karussell - Carousel
Small Ensemble - Digital Download SKU: A0.1017907 Composed by Andreas Kleinert. Con…
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Small Ensemble - Digital Download SKU: A0.1017907 Composed by Andreas Kleinert. Contemporary. Score and parts. 1 pages. Andreas Kleinert #6327381. Published by Andreas Kleinert (A0.1017907). Hier spürst du die Fliehkräfte beim Karussell Fahren! Die Terzen werden zu Quarten und die zu Quinten! Und das ganze in Sequenzen und in Umkehrung! Und zugleich ist es etwas Nettes, Beschauliches; es ist kein Karussell, bei dem du gleich Angst hast hinausgeschleudert zu werden! Gib dich ganz der Freude der Kinder auf dem Jahrmarkt hin und werde dabei selbst wieder zum Kind! Here you feel the centrifugal forces when you are riding a carousel! The thirds become to fourths and they become to fifths! And the whole also in inversions! At the same time there is something kind, comtemplative. It is no carousel riding with fear and you are not afraid to get thrown out! Surrender completely to the childrens´ joy in the fair and so become a child again!
$3.99
3.59 €
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Andreas Kleinert
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Karussell - Carousel
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Andreas Kleinert
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