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I Aint the One
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Just As I Am, Without One Plea (Brass Quintet)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Sacred music
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William B
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Joseph Pugh
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Hymns
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Just As I Am, Without One Plea
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Joseph Pugh
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855031 Composed by William B. Bradbury(1816-1868). Arranged by Joseph Pugh...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.855031 Composed by William B. Bradbury(1816-1868). Arranged by Joseph Pugh. Christian,Sacred,Standards. Score and parts. 7 pages. Joseph Pugh #6065427. Published by Joseph Pugh (A0.855031). Charlotte Elliot, [the lyricist of this great Hymn] had a great love of poetry and music, and is reflected in her verse. Her hymns number about 150, a large percentage of which are in common use. The finest and most widely known of these are, Just as I am and My God, my Father, while I stray. Her verse is characterized by tenderness of feeling, plaintive simplicity, deep devotion, and perfect rhythm. For those in sickness and sorrow she has sung as few others have done. Her hymns appeared in her brother's Psalms & Hymns and elsewhere.-Hymnary.org.
$19.99
Monteverdi - The Seventh Book of Madrigals (1619) - 25. Ohimè, dov'è il mio ben
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Classical
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Seventh Book
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.767364 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Ren...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.767364 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 42 pages. Lyons Music Services #3545477. Published by Lyons Music Services (A0.767364). At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.Here is a group of four very short songs for soprano duet with continuo. I have arranged them as a duet for trumpet/cornet with a four part accompaniment.The four songs are related under the commone title Ohimè, dov'è il mio ben but each also has a title of its own:1. Romanesca a 2 (This is the subtitle. A romanesca was a musical formula characterised by a falling sequence of 5 notes and with a fixed harmonic progression.) The text translates as Alas, where is my beloved?2. Dunque ha potuto sol desio d'onore - Can it be that love of honour...3. Dunque ha potuto in me, più che il mio amore - Can it be that ambition and vainglory...4. Ahi, sciocco mondo - Alas, foolish blind worldEach song is a setting of a pair of couplets which together form the whole poem, which is why I have collected them together here. Besides, on their own, each is too short.Here also is evidence of Monteverdi's progress in telling a story through music.These four songs work beautifully on brass, with gorgeous suspensions and resolutions and well directed rhythmic drive from the accompaniment.The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)Once again, these songs are exquisitely crafted and travel well onto brass.
$8.99
Breeze And I
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE/ADVANCED
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Al Stillman and Ernesto Lecuon
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F
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Breeze And I
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1164066 Composed by Al Stillman and Ernesto Lecuona. Arranged by F. Leslie...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1164066 Composed by Al Stillman and Ernesto Lecuona. Arranged by F. Leslie Smith. Multicultural,Pop,Standards,World. Score and parts. 37 pages. Sweetwater Brass Press #764401. Published by Sweetwater Brass Press (A0.1164066). Ernesto Lecuona was born 1895 in Cuba.  He began piano lessons at 5 years of age and developed into a virtuoso pianist and internationally celebrated composer.  In 1928 he composed Suite AndalucÃa, a six-movement piano piece portraying the people and places of the Andalusia region of southern Spain.  Two of those pieces eventually achieved tremendous popularity as standalone songs:  #2, “Andalucia†and #6, “Malagueña.† Lecuona had composed both in ¾ time.  Salvador Tutti Camarata reframed “Andalucia†in 4/4, Al Stillman provided English lyrics and the song was given a new title, “The Breeze and I.† Jimmy Dorsey’s big band recorded it in 1940 with the vocal by Bob Eberly.  It was hugely popular, lasting nine weeks on the Billboard magazine chart and peaking at #2.  Fifteen years later, Caterina Valente recorded both “The Breeze and I†and “Malagueña†to great success.    This arrangement opens in A-flat major with Trumpets, Horn and Tuba laying down a Latin beat and the Trombone playing an opening lick.  After the introduction, Trombone and Trumpets take turns with the melody, while Horn and Tuba provide variety and accents.  On the second time through, the key changes to E-flat major and begins with a Trumpets-and-lower-brass fanfare.  The melody repeats, but this time with a different take.  Horn and Trombone take turns with melody and counter melody, then Trumpets take over.  After several cascade effects, the tune reaches its end and Trumpets play an extended version of Trombone’s lick from the introduction.  The group then repeats the final 16 bars of the tune and winds up with an extended ending treatment.  Trombone once again contributes its opening lick, and the arrangement fades away . . . all to a Latin beat.  Enjoy!    Time signature is 2/2 and suggested tempo is 72 BPM, which is maintained all the way through.  There are two instances of a one-bar change to 3/2.  The fanfare at Section C contains a measure and a half of 16th notes.  All notes are well within the normal playing range of the five instruments.    Completed in 2023, performance time runs about 3 minutes, 30 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).
$12.99
E lucevan le stelle from "Tosca" (Puccini) - Solo Trombone or Euphonium and Piano
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Trombone and Piano
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INTERMEDIATE
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Classical
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Giacomo Puccini
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Rob Bushnell
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E lucevan le stelle from "Tosc
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Rob Bushnell
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SheetMusicPlus
B-Flat trombone,Baritone Horn BC,Baritone Horn TC/Euphonium,Instrumental Solo,Piano,Tenor Trombone,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A...
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B-Flat trombone,Baritone Horn BC,Baritone Horn TC/Euphonium,Instrumental Solo,Piano,Tenor Trombone,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.1490460 Composed by Giacomo Puccini. Arranged by Rob Bushnell. 19th Century,20th Century,Classical,Opera,Romantic Period. Score and individual part. 10 pages. Rob Bushnell #1067302. Published by Rob Bushnell (A0.1490460). Tosca is an opera in three acts by the Italian composer Giacomo Puccini. The opera is set in June 1800 in Rome, and tells the story of the Kingdom of Naples and the threat to its control of Rome by Napoleon’s invasion of Italy. Some of Puccini’s best-known arias can be found in Tosca.The opera is based on Victorien Sardou’s dramatic play of the same name (La Tosca). Puccini saw the play at least twice in 1889 and begged his publisher, Giulio Ricordi, to obtain the rights to turn it into an opera, which were secured in 1891 – although Puccini relinquished the rights to Alberto Franchetti before being recommissioned in 1895. Puccini wrote “I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.” It took 4 years to write, with Puccini arguing with his librettists (Luigi Illica and Giuseppe Giacosa) and his publisher. Although the first performance was delayed by a day due to the unrest in Rome at the time, the opera was premiered on 14 January 1900 at the Teatro Costanzi in Rome. The critics reviews were indifferent, but it was an immediate success with the public. The opera is through-composed, with the different musical elements weaved from piece to piece. Puccini used the Wagner’s leitmotif concept to identity different parts of the opera.Taken from Act 3, E lucevan le stelle is sung by Cavaradossi, a painter, who has fallen for the singer Tosca. The corrupt Chief of Police, Baron Scarpia, longs for Tosca himself and, upon suspecting Cavaradossi of helping a political prisoner escape, he takes the opportunity to get rid of Cavaradossi and blackmail Tosca into being with him. The guards lead Cavaradossi to the roof of Castel Sant'Angelo, where he is told he has 1 hour to live before being executed. He asks to write a letter to Tosca, overcome by memories, he sings E lucevan le stelle (And the starts shone). It was selected by the tenor Wynne Evans as one of the most romantic songs for his top ten arias for Classic FM. He described it as “another tenor classic, both tragic and beautiful.”This arrangement (for solo euphonium and piano accompaniment) includes an alternative part for euphonium in treble clef. A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=EAqHQMX7GHYOther searchable terms: Luciano Pavarotti.
$19.99
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Thérèse Brenet : Le Visionnaire for alto saxophone and piano
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Alto Saxophone and Piano
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INTERMEDIATE
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Therese Brenet
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Thérèse Brenet : Le Visionna
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.532826 Composed by Therese Brenet. Contemporary,Sacred,Stan...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.532826 Composed by Therese Brenet. Contemporary,Sacred,Standards. Score and parts. 11 pages. Musik Fabrik Music Publishing #44849. Published by Musik Fabrik Music Publishing (A0.532826). The German mystic the Abbess, Saint Hildegarde de Bingen, describes in the Sciula contraction of Cito uias domini (Learn the ways of the Lord), the visions that she had from childhood. This kind of experience is in a certain extent comparable to the beginning of the process of artistic creation. It was the case of Hildegarde herself, who had great expertise in many fields, including medicine, astronomy. and poetry which she often set in musical setting which were often very inspired. According to God’s will, my soul sometimes goes up into the heights of the sky and in the various regions of air, sometimes among the various peoples who live in far-off lands, unknown places because I see these things in my soul and according to this manner I see them also according to the imprecision of clouds and other creatures. I do not hear these things with my ear, I do not perceive them according to the thoughts of my heart, nor any of my five sense. I see them only en my soul, and the eyes of my body are open; And I see them awake both day and night This work also exists in a version for alto saxophone, viola and piano.
$10.35
I Ain't Worried
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Piano, Vocal and Guitar
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EASY
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Film/TV
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OneRepublic
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Barry McCormick
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I Ain't Worried
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B. McCormick
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042119 By OneRepublic. By Bjorn Yttling, Brent Kutzle, John Eriksson, Peter Moren, Ryan Te...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042119 By OneRepublic. By Bjorn Yttling, Brent Kutzle, John Eriksson, Peter Moren, Ryan Tedder, and Tyler Spry. Arranged by Barry McCormick. Film/TV,Pop. Score. 8 pages. B. McCormick #646917. Published by B. McCormick (A0.1042119). About this Piano/Vocal/Guitar arrangement of “I Ain’t Worried†This One Republic hit from the sound track of “Top Gun:Maverik†is a catchy tune to learn. This piano, guitar and vocal arrangement will help you learn the song “I Aint Worried.†The key is in F major and included is the lead sheet so this can be given to another instrumentalist or singer to perform along. The distinct features in the song, the bass and the hook I have kept close to the recording on the track. I have done some slight adjustments for the piano accompaniment to break up and differentiate the different sections otherwise it would be very repetitive. It is a very simple song in essence, a four chord riff and rhythmic motif that breaks for the bridge section. The rhythm isn’t the simplest for the bass part that permeates the song however it is repetitive which means once that is learned you have practically mastered the whole song. There is a lot of back and forward in the music to the chorus which jumps to different parts. I have tried to simplify this by using boxed text to identify each section clearly and indicate when you should jump to each section. Using first, second and third time bars with D.S and coda markings cluttered the music up and made it seem more complicated. So I hope this editorial decision to use boxed text makes it clearer. If you like this arrangement a also have some other arrangements of Christian worship songs and Hymns from Lead sheets to classical guitar arrangements you may also like to check out. About the Arranger, Barry McCormick I am Barry McCormick, I have an MA in music from the University of Glasgow. I am a musician, composer and arranger from Scotland. I have over 20 years experience in teaching music at a classroom and private tuition level and have taught students from early years to more mature in years. I was involved in a group using music as a means to aid mental health teaching guitar for those purposes. I now mainly focus on composing and arranging and trying to provide resources through various means for students and music educators. You can find me online You can keep up to date with me through my website and social media: Connect on inaminim.com. This is my new website where I am posting my new arrangements and compositions as well as trying to help build and collate resources that will be useful for those learning and teaching music. Connect on YouTube This is the place I will be uploading the videos of my arrangements where you can hear them alongside music educational content. Connect on Tik Tok This is a platform I am cautiously trying to utilise properly to promote my website. If you would like to follow me there please feel free. I will hopefully get over my apprehension and post more frequently soon!
$4.99
In the Hall of the Mountain King (for baritone sax solo w/ piano accompaniment)
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Baritone Saxophone, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.1304518 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contes...
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Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.1304518 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Score and part. 4 pages. Rodrigo Faleiros #893534. Published by Rodrigo Faleiros (A0.1304518). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our baritone sax solo arrangement. This rendition contains a piano accompaniment and maintains the essence of the original while ensuring accessibility for players of all levels. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$4.99
In the Hall of the Mountain King (for baritone sax solo w/ piano accompaniment)
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Baritone Saxophone, Piano
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.1304269 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contes...
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Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.1304269 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Score and part. 4 pages. Rodrigo Faleiros #893579. Published by Rodrigo Faleiros (A0.1304269). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our baritone sax solo arrangement. This rendition contains a piano accompaniment and maintains the essence of the original while ensuring accessibility for players of all levels. This sheet music contains chord symbols. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$4.99
In the Hall of the Mountain King (for baritone sax solo)
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Saxophone (band part)
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.1304546 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest...
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Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.1304546 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Individual part. 1 pages. Rodrigo Faleiros #893499. Published by Rodrigo Faleiros (A0.1304546). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our baritone sax solo arrangement. This rendition maintains the essence of the original while ensuring accessibility for players of all levels. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$2.99
In the Hall of the Mountain King (for baritone sax solo)
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Saxophone (band part)
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.1304256 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest...
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Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.1304256 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Individual part. 2 pages. Rodrigo Faleiros #893562. Published by Rodrigo Faleiros (A0.1304256). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our baritone sax solo arrangement. This rendition maintains the essence of the original while ensuring accessibility for players of all levels. This sheet music contains chord symbols. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$2.99
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Mu...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
In the Hall of the Mountain King (for trombone solo)
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Trombone
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Trombone Solo - Level 4 - Digital Download SKU: A0.1304291 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,...
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Trombone Solo - Level 4 - Digital Download SKU: A0.1304291 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Individual part. 2 pages. Rodrigo Faleiros #893566. Published by Rodrigo Faleiros (A0.1304291). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our trombone solo arrangement. This rendition maintains the essence of the original while ensuring accessibility for players of all levels. This sheet music contains chord symbols. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$2.99
In the Hall of the Mountain King (for trombone solo w/ piano accompaniment)
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Halloween
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Edvard Grieg
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Rodrigo Faleiros
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In the Hall of the Mountain Ki
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Rodrigo Faleiros
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SheetMusicPlus
Piano,Trombone - Level 4 - Digital Download SKU: A0.1304273 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival...
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Piano,Trombone - Level 4 - Digital Download SKU: A0.1304273 Composed by Edvard Grieg. Arranged by Rodrigo Faleiros. 19th Century,Chamber,Contest,Festival,Romantic Period. Score and part. 4 pages. Rodrigo Faleiros #893584. Published by Rodrigo Faleiros (A0.1304273). Unleash the captivating charm of Edvard Grieg's In the Hall of the Mountain King with our trombone solo arrangement. This rendition contains a piano accompaniment and maintains the essence of the original while ensuring accessibility for players of all levels. This sheet music contains chord symbols. Whether you're a beginner or a seasoned pro, this piece offers a memorable solo experience, combining the essence of Grieg's masterpiece with suitability for all skill levels, making it perfect for personal enjoyment, recitals, or competitions.Don't miss other arrangements I've made for this and other classical works. You can check them all clicking here.
$4.99
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