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I Was Born for This: Score
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I Was Born for This: Score
Concert band
Concert Band - Digital Download SKU: AX.00-PR-0004180 Score. Composed by Aus…
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Concert Band - Digital Download SKU: AX.00-PR-0004180 Score. Composed by Austin Wintory. Arranged by Roland Barrett. Instructional. Score. 28 pages. Alfred Music - Digital Sheet Music #00-PR-0004180. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0004180). UPC: 038081457932.Originally composed by Austin Wintory for the video game Journey, for solo voice with accompaniment, this arrangement also permits the solo to be performed by trumpet, or alto saxophone as we've done on this recording. (4:15)Solo with ensemble.
$12.00
11.17 €
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Concert band
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Austin Wintory
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I Was Born for This: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Austin Wintory: I Was Born for This - concert band (full score)
Concert band
Instantly printable sheet music by Austin Wintory for concert band (full score) of EASY/ME…
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Instantly printable sheet music by Austin Wintory for concert band (full score) of EASY/MEDIUM skill level. / instructional
$11.99
11.16 €
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Concert band
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Austin Wintory
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Virtualsheetmusic
Austin Wintory: I Was Born for This (COMPLETE) - concert band
Concert band
Instantly printable sheet music by Austin Wintory for concert band of EASY/MEDIUM skill le…
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Instantly printable sheet music by Austin Wintory for concert band of EASY/MEDIUM skill level. / instructional
$79.99
74.44 €
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Concert band
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Austin Wintory
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Virtualsheetmusic
Nineteen Skeletal Duets for Trombones
2 Trombones (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Individual Part, Score. 44 pages. Published by Musica Nova USA
Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.<br> <br> 1. Cranium<br> This duet presents the cantabile “singing” style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.<br> <br> 2. Stirrup<br> This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos – a common choice for all of the duets.<br> 3. Humerus<br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.<br> 4. Vertebra<br> This is in a “rock” style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.<br> 5. Axis<br> Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.<br> 6. Tibia<br> This duet alternates in rock style and swing. Articulations and manipulation of “swing” rhythms are important.<br> 7. Clavicle<br> The key of A for this duet provides variation for the students.<br> 8. Fibula nd<br> This duet uses the easiest of rhythms and range, especially for the 2<br> 9. Scapula<br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.<br> 10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.<br> <br> (student) part.<br> <br> 11. Radius<br> This duet is in a “Medium Swing” jazz style. Each part has a chance to play a little bit of a “walking” bass line. Articulations and manipulation of “swing” rhythms are important in this duet.<br> 12. Femur<br> This duet works on double time and half time tempo changes.<br> 13. Patella<br> This is another duet that includes graphic notation. In this duet “Free rapid legato lines” are used.<br> 14. Anvil<br> This gallop displays different types of articulation.<br> 15. Hammer<br> This duet is in the style of a fanfare.<br> 16. Rib<br> This duet is a melody, “Magallon Blues”, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.<br> 17. Sacrum<br> This duet is a short arrangement of Mozart’s “Eine Kleine Nachtmusic”.<br> 18. Ulna<br> This duet is a short arrangement of the traditional Irish folk song “Londonderry Air”, more commonly known as “Danny Boy”.<br> 19. Ilium<br> This duet is a short arrangement of the Beethoven’s song “Ode to Joy” which represents the triumph of universal brotherhood against war and desperation.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.<br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.61 €
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2 Trombones (duet)
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Gregory Fritze
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Nineteen Skeletal Duets for Trombones
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Musica Nova USA
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SheetMusicPlus
Intermediate Music for Three Christmas - Part 2 Clarinet #53123
Clarinet - Level 3 - Digital Download SKU: A0.1341848 Composed by Various. Arranged…
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Clarinet - Level 3 - Digital Download SKU: A0.1341848 Composed by Various. Arranged by Daniel Kelley. Baroque,Christmas,Classical,Hanukkah,Holiday. 44 pages. Last Resort Music Publishing #927358. Published by Last Resort Music Publishing (A0.1341848). Part 2 Clarinet in BbThis is a wonderful collection of accessible arrangements of intermediate trios including holiday favorites such as The Twelve Days of Christmas, Wexford Carol, A Hanukkah Medley, Jingle Bells, Good King Wenceslas, Corelli's Christmas Concerto and more! This series is designed to progress to the level of the Music for Three series. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played. Table of ContentsA La Nanita NanaAngels from the Realm of GloryBoar’s Head Carol Break Forth, O Beauteous, Heavenly Light Christmas Day in the Morning Christ-Child is Born Christ Was Born On Christmas Day Christmas Concerto by Corelli, 5 Movements Fum, Fum, FumGesu Bambino Good King Wenceslas Hanukkah Medley - Hanukkah, S’Vivon, My Dreidel, Rock of Ages He Shall Fee His Flock Like A Shephard from the Messiah He is Born, the Divine Christ Child I Heard the Bells on Christmas Day It’s Christmas Time Again Jingle Bells Joy to the World March of the Toys (by Victor Herbert)The Nutcracker (Scene in the Snowy Pine Forest)O Christmas Tree O Tannenbaum O Come All Ye Faithful, Adeste FidelesO Holy Night Pastoral Symphony “Pifa†from The Messiah Sleigh Ride from German Dance K. 605, #3 Song of the Birds Twelve Days of Christmas Up On the Housetop Wexford Carol While Shepherds Watched Their Flocks by Night Other Parts Available: 53111 Part 1 Flute or Oboe or Violin 53113 Part 1 Clarinet in Bb 53115 Part 1 Alto Sax in Eb53121 Part 2 Flute or Oboe or Violin53122 Part 2 Viola53123 Part 2 Clarinet or Trumpet in Bb 53125 Part 2 Tenor Sax in Bb53131 Part 3 Cello or Bassoon 53133 Part 3 Bass Clarinet in Bb53135 Part 3 Baritone Sax in Eb53140 Keyboard or Guitar53199 Score (Parts 1-3 in C) Learn about Music for Three and Intermediate Music for Three in our YouTube Video!Â
$20.00
18.61 €
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Various
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Intermediate Music for Three Christmas - Part 2 Clarinet #53123
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Last Resort Music Publishing
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SheetMusicPlus
Fifteen Safari Duets for Tubas
2 Tubas (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.<br> <br> In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.<br> <br> 1. Elephants at Stave<br> <br> This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.<br> <br> 2. Gallop – Thompson Gazelle at Amboseli<br> <br> This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya. <br> <br> 3. Rhinos at Nairobi Game Park<br> <br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.<br> <br> 4. Giraffes at Nairobi Twiga Park<br> <br> This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.<br> <br> 5. Warthogs at Ngulia<br> <br> Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.<br> <br> 6. Baboons at Kiliguni<br> <br> This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal. <br> <br> 7. Pastoral – Cape Buffalo at Samburu<br> <br> The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.<br> <br> 8. Song - Hippos at Mzima Springs<br> <br> This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.<br> <br> 9. Leopards at Kimana Lodge<br> <br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night. <br> <br> 10. Colobus Monkeys at the Ark<br> <br> This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest. <br> <br> 11. Zebra Migration at Masai Mara<br> <br> This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.<br> <br> 12. Ostrich at Samburu<br> <br> This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.<br> <br> 13. Cheetah at Voi<br> <br> This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.<br> <br> 14. Gallop – Gerenuk at Buffalo Springs<br> <br> This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.<br> <br> 15. Lions at Mara Sopa<br> <br> This duet is in the style of a fanfare. The lion is considered the king of the savanna. <br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud. <br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.61 €
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2 Tubas (duet)
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
The Water is Wide for Viola & Piano
Viola, Piano
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoir…
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Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publications
$32.95
30.67 €
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Viola, Piano
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Traditional Scottish
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The Water is Wide for Viola & Piano
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jmsgu3
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SheetMusicPlus
All on my Own - 17 fun pieces for Piano ONE HAND
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1417934 By Barbara Arens. By Barbar…
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Piano Solo - Level 2 - Digital Download SKU: A0.1417934 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. 21st Century,Contemporary,Instructional,Medieval. Score. 28 pages. Barbara Arens #999478. Published by Barbara Arens (A0.1417934). In 2013, I was so fortunate as to be able to publish my ‘One Hand Piano’ with Breitkopf & Härtel.This book has proven so popular that Breitkopf has since published my ‘One Hand Piano 2’.You can tell: I really enjoy the challenge of writing for the left or right hand alone!Now I have been requested to publish a further little collection of pieces for Piano One Hand at a slightly easierlevel than the Breitkopf & Härtel books.These are likewise not only for piano students with a broken arm, they are for music-lovers of all ageswho were possibly born with the use only one hand, or who have had a stroke or other injury temporarily orpermanently forcing them to play with one hand only. FORTUNATELY you can play a lot of great music andhave a lot of fun with just one hand on the piano!
$9.99
9.3 €
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Piano solo
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Barbara Arens
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Härtel
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All on my Own - 17 fun pieces for Piano ONE HAND
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Barbara Arens
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.98 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.98 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
String Quartet No 0 SCORE
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938424 Composed …
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938424 Composed by Colin Bayliss. 20th Century. Score and parts. 46 pages. Colin Bayliss #11309. Published by Colin Bayliss (A0.938424). The work was completed on February 2nd 1970 and is the first piece to be retained by the composer after he had destroyed all his earlier compositions. The parts are available as a separate download. The following is taken from the catalogue of the composer's works:- The photocopy of the MS is marked String Quartet No. 1, but is not regarded by the composer as part of his mature string quartet writing. The MS itself was lost in a fire at the home of Col. Robert Tong, formerly Registrar of Queen Mary College, University of London. A typesetting was made in November 2000 as the photocopy had faded so badly. The composer's sketch books suggest that the movements were written in the order 3,2,4,1. 1. Allegro 2. Scherzo (Allegro energico) Trio I - tempo di menuetto Trio II - no tempo indicated - [andante] 3. Andante con moto 4. Allegro ma non troppo Composer's note:- As the above suggests, I originally had no intention of publishing this early piece. The recording by the Lochrian String Quartet of the six numbered quartets, however , together with sleeve notes admitting the existence of this work, prompted me into revising my opinion and allowing its publication, so that anyone wishing to study this first effort may do so. It shows certain traits that I was to develop in the six quartets and others that I was to discard, and therefore is of musicological interest. It also has a few good, albeit imitative, tunes! Duration: Approx. 25 mins. COLIN BAYLISS was born in Mansfield, Nottinghamshire in 1948. His life-long love of music led him to compose from an early age and he now has a catalogue of over a hundred works including two operas, four symphonies, six string quartets and many other pieces for most instrumental and chamber groupings, over seventy of them published. He is a member of the British Academy of Composers and Songwriters, the North West Composers' Association and the Performing Rights Society. As well as writing music himself, he has also compiled annotated catalogues of the works of Anthony Hedges and Sir Peter Maxwell Davies. CDs of his piano music played by David Martin and complete organ music played by Ronald Frost are available on the New Century Classics label. Please feel free to use these biographical and programme notes in your concert programmes.
$10.00
9.31 €
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String Quartet: 2 violins, viola, cello
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Colin Bayliss
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String Quartet No 0 SCORE
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Colin Bayliss
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SheetMusicPlus
Sketches of Christ 3 "I Was Blind; Now I See" - Tone Poem for Instrumental Solo and Piano by Stephen
Small Ensemble Cello,Clarinet,Flute,Piano,Trombone,Trumpet,Violin - Digital Download SK…
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Small Ensemble Cello,Clarinet,Flute,Piano,Trombone,Trumpet,Violin - Digital Download SKU: A0.818293 Composed by Stephen R Dalrymple (Dalrymple Designs). Contemporary. Score and parts. 109 pages. Stephen R Dalrymple #4991045. Published by Stephen R Dalrymple (A0.818293). Sketches of Christ Movement 3 Though I Was Blind; Now I SeeTone Poem for Cello and Piano and Piano by Stephen R Dalrymplebased on John 9, the account of the interactions of the man born blind, Jewish authorities, and Jesus Christtranscribed for solo flute, clarinet, trumpet, euphonium/trombone, and violin Sketches of Christ is a 3 movement work by Stephen R Dalrymple intended for the concert stage (contrasted with preludes and offertories at church). It was originally titled Sonata for Cello and Piano. As I composed similar works, I realized that, although I have used the concepts of sonata form in various movements, because these pieces reflect the drama of selected passages of the Bible, Tone Poem was a more fitting genre title. I have begun the process of transcribing these Tone Poems for additional instruments. I consider these Tone Poems as contemporary classical music. I have used modal harmonies; polychords and polytonality; free dissonance; atonality, mixed meters, etc. to convey the drama of the Bible. Sketches of Christ is based on 3 episodes from Christ’s Life: The calming of the Sea of Galilee, Mary and Martha, and the healing of the man born blind. This score is movement 3 of a 3 movement tone poem, originally scored and premiered as a sonata for Cello and Violin. It is presented here for 5 additional solo instruments: Flute, Clarinet, Trumpet, Euphonium (or Trombone) and Violin.  Sketches of Christ is written in 20th Century Classical Music composition techniques. Various movements employ a mix of bitonality, modal harmony, deliberate dissonance, and mixed meter. Each movement dramatizes an event form the Life of Christ. This movement expresses the interactions of the man born blind, Jewish authorities, and Jesus Christ from John 9.  The score shows the parts for cello and piano, but individual parts are provided for the other solo instruments.  Includes 14 scores: Full Score for cello and piano letter size; Cello, Flute, Clarinet, Trumpet, Euphonium (or trombone), and Violin solo parts; Full Score for cello and small page format for performing from a 10 inch tablet and the same solo parts for 10 inch tablet. tablet (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)  The 3 movements of the tone poem are published separately. This tone poem is actually a more like a solo instrument and piano duet rather than a solo with a piano accompaniment.
$6.50
6.05 €
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Stephen R Dalrymple
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Sketches of Christ 3 "I Was Blind; Now I See" - Tone Poem for Instrumental Solo and Piano by Stephen
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Stephen R Dalrymple
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SheetMusicPlus
When I Was Born
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1313294 By A Peter Dinklage …
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1313294 By A Peter Dinklage & London Contemporary Orchestr. By Aaron Brooking Dessner, Bryce Dessner, Carin Besser, Matthew Berringer, and Matthew D. Berninger. Arranged by David Richard Corkill. Broadway,Contemporary,Film/TV,Musical/Show. Score. 12 pages. David Richard Corkill #902082. Published by David Richard Corkill (A0.1313294). When I Was Born from Cyrano (2021) Arranged for Piano, Male Soloist, Snare Drum, Slap Stick, and Choir CrowdArranged by: David Richard CorkillIn Association With: Teradil PublishingFor this and other exciting creations, or to contact the arranger, visit: www.Teradil.comThis song is sung and performed with an angry intensity. This is quite an unusual arrangement as it has spoken word in the first half before the soloist begins to sing. In the mp3 sample this spoken word hangs on just one note. Snare Drum and Slap Stick join in mid way through to increase the intensity, and at 150 beats per minute, it is a heartpounding arrangement for the ages. A big Choir Crowd echoes the melody while the soloist goes back to spoken word toward the end. Purchase this arrangement today and start practicing! You'll be glad you did.
$4.99
4.64 €
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Piano, Voice
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A Peter Dinklage & London Contemporary Orchestr
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When I Was Born
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David Richard Corkill
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SheetMusicPlus
Divertimento in F major for Piano and Harp, Opus 1: "Luna Park rides, Milson's Point, N.S.W., 2061,
Harp and Piano
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1027281 Composed by Australi…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1027281 Composed by Australian neo-classical composer, Mr. Phillip Anthony Russo, and born 19/03/1965. Classical,Contemporary,Instructional,Standards,World. Score and parts. 56 pages. Mr. Phillip Anthony Russo #2029033. Published by Mr. Phillip Anthony Russo (A0.1027281). Divertimento in F major for Piano and Harp, Opus 1. Copyright, 2005, 2010, 2014, by Phillip Russo, born 19/03/1965. All Rights Reserved. This beautiful, melodious and fun piece, which plays for 12 minutes and 17 seconds on the CD, is scored in a bright F major key, has two sections in C major, and employs 43 orchestral instruments, played by 40 musicians. Two percussionists play five instruments. The pianist directs and conducts the work from the piano, or a conductor may be employed instead. I chose a concert grand piano, or a baby grand piano, and a concert harp as the two leading, but not solo, orchestral instruments which are used to showcase the piece. I have included a .mp3 audio clip of this piece to illustrate the neo-classical melodies in it. Divertimenti, were first written by Franz Joseph Haydn, Michael Haydn and Wolfgang Amadeus Mozart during the Classical period, between 1750 and 1809. A divertimento is a short, entertaining, chamber ensemble or orchestral work, usually in the form of an orchestral suite, written in several sections and/or movements. It can have as few as three, or many more instruments! A divertimento does not have a strict format, but a liberal one, within acceptable limits or conventions, and only small chamber ensembles were employed to perform divertimenti in Haydn's and Mozart's day in the eighteenth century. Both a divertimento and a cassation may contain a leading or obbligato instrument(s), or can even be integrated with vocal or choral music. However, divertimenti and cassations never have solo instruments, as in a concerto. An Opus number 1, means that this is the first written work of a composer; opus 2 means the second work, and so forth. 'Opus' means a work, or composition. I sub-titled the piece: Luna Park rides, Milson's Point, N.S.W., 2061, Australia, and circus sideshows. I chose this sub-title because the work reminds me of my childhood days, of the rides at Luna Park, Sydney, such as the Merry-go-Round, the Ferris Wheel, the Cha-Cha, the Dodgem cars, the Rotor, the Mirror Maze, the slippery dips in Coney Island, the River Caves, the Ghost Train - burnt down presumably due to an electrical fault, in December, 1974, killing 7 people, the Giant Pendulum ride, the Giant Spider ride, the Big Dipper, later renamed the Wild Cat and later the Wild Mouse, which is actually a Roller-coaster ride. Some of the Harp part sounds like the movement of the Roller-coaster! Also, the work reminisces on my experience of the Sole Brothers' Circus sideshows, in 1977, such as the targeting games and prizes, and clowns sideshows, which my dad took me to see when I was about 12 years old.
$40.00
37.23 €
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Harp and Piano
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Australian neo-classical composer, Mr
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Divertimento in F major for Piano and Harp, Opus 1: "Luna Park rides, Milson's Point, N.S.W., 2061,
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Mr. Phillip Anthony Russo
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SheetMusicPlus
Beethoven: Sonata Op. 49 No. 2 for String Orchestra
String Orchestra
String Orchestra - Level 2 - Digital Download SKU: A0.549863 Composed by Ludwig van…
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String Orchestra - Level 2 - Digital Download SKU: A0.549863 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Instructional,Standards,World. Score and parts. 52 pages. Jmsgu3 #3557749. Published by jmsgu3 (A0.549863). Beethoven Sonata Op. 49 No. 2 arranged for string orchestra. Duration: 10:15 Score: 28 pages, 242 measures. In two movements. I arranged this for my own beginner orchestra. Easy to rehearse and perform. Very popular with the audience. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$49.95
46.49 €
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String Orchestra
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Ludwig van Beethoven
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Beethoven: Sonata Op. 49 No. 2 for String Orchestra
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jmsgu3
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SheetMusicPlus
Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Be…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda
$11.95
11.12 €
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Alto Saxophone and Piano
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Ali Ben Sou Alle, Wolfgang Amadeus Mozart
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Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Lullaby and Fugue (Score and Parts)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.942945 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.942945 Composed by Aris Antoniades. Contemporary,World. Score and parts. 26 pages. Aris Antoniades #3914539. Published by Aris Antoniades (A0.942945). Lullaby & Fugue, composed by Aris Antoniades.This piece was commissioned by the Sforzando Composers' Collective for the New Asia Chamber Music Society of New York, and was premiered on August 4th, 2017 at the Riverside Church in NYC.When I was presented with the challenge of composing a work combining traditional Chinese instruments with conventional Western instruments, I was quite intrigued: merging different sound-worlds has always been a strong compositional interest of mine. I am fascinated by folk music and, being born and raised on the Mediterranean island of Cyprus, much of my music is greatly influenced by my Greek cultural heritage. This piece is no different: I’ve attempted to use the enchanting sound of the Chinese Dulcimer in a way that reminds me of my own home.Lullaby and Fugue is a work inspired by the magical art of story telling. I still remember many of the bedtime stories my grandparents used to tell me when I was young. Their stories were not just entertaining, but also didactic: I follow many of their teachings to this very day, and I believe that these stories have played a vital role in shaping my character. The Lullaby portrays the soothing aspect of a bedtime story, whilst the Fugue represents the hidden, ‘cerebral’ aspect. I would like to thank my friends at the Sforzando Composers Collective for this great opportunity and all of the performers for their time and dedication. Additionally, I would like to thank my mentor, Dr. J. Mark Stambaugh for helping me discover the true magic of counterpoint, back in college. Finally, I would like to dedicate this piece to the greatest storytellers in the world: my grandparents George, Panayiota, Anthis and Persoulla.Estimated performance time: ca. 4' 45''Instrumentation:Chinese DulcimerPianoViolinVioloncelloContact the composer: https://www.arisantoniades.com or aris.antoniades@gmail.com
$25.00
23.27 €
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Aris Antoniades
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Lullaby and Fugue
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Aris Antoniades
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SheetMusicPlus
Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès N…
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Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès Nataf. Concert,Contemporary. Score. 7 pages. Musik Fabrik Music Publishing #2344341. Published by Musik Fabrik Music Publishing (A0.533330). Il fuoco rubato is one of the 3 pieces for piano solo Anamorphoses whose titles areBartoquade I, Bartoquade II b and Il fuoco rubato. These pieces can be linked together as awhole, in that order. The duration is of 5 minutes. They can also be played separately, orgrouped by two (Bartoquades I et II b, duration 3’). The same approach governs the writing ofthese compositions : taking model on works of the repertoire and transforming them as muchas possible while keeping a lot of important parameters.There are many cautionary accidentals. They are not enclosed in brackets to avoidoverloading writing. They are not systematically mentionned. In case of doubt, one willconsider the logic of the composition. When useful, one can distribute differently notesbetween the 2 hands on the condition of respecting the balance between voices. The sign *[on measure 80 means chromatic cluster (F-F#-G). Marie-Agnès NATAF was born on March 2, 1952 at Issy-les-Moulineaux, in the suburbs of Paris, Before deciding to devote herself completely to music, she began by studying both mathematics and musics at the same time. She had a varied base in her musical training, which allowed her to understand the teaching of her main teacher Narcis BONET. She studied the piano, chamber music, musical analysis, harmony and also to a lesser degree the flute, counterpoint and conducting. As a pianist, she received a First Prize in Piano and in Chamber Music at the Orsay Conservatory, the Gold Medla at the National Music School of Cahcan and the Artist Diploma at the Ecole Normale de Musique de Paris – in the class of Germaine MOUNIER. For composition, she studied with Narcis BONET (who later invited her to the Conservatoire Américain of Fontainebleau as accompanist and teacher of French Diction), Yoshihisa TAÃRA, and Edith CANAT de CHIZY. Having taught for a time at the Ecole Normale de Musique de Paris, she is currently professor of piano at the Conservatoire Erik Satie of Villebon-sur-Yvette, Marie-Agnès Nataf has a double career of performer and composer. In both areas, she is especially attracted to chamber music, for the rich musical and human exchanges that this type of music permits. She has written her works Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, Révolte sans paroles and Elan brisé for her colleagues the mezzo-soprano Nicole PARAMYTHIOTTI and the flutiste Isabelle MARCHAL with whom he has given concerts for many years. As a performer, she has premiered works by composers such as Gian-Paolo CHITI, Gloria COATES, Jean-Marie MACHADO, Yoshifumi UMEZAWA, Miao Wen WANG, without speaking of her own compositions. She also tries to discover high quality works of music which are rarely performed, especially works by women composers such as Thérèse BRENET, Dianne GOOLKASIAN-RAHBEE, Ruth LOMON. Her principal works are Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, for mezzo-soprano and piano, 8'30, 1981-83-86. Bartoquade I - Anamorphoses I, 1', et Bartoquade II b - Anamorphoses II, 2', for piano, 1990 revised in 2012. Il fuoco rubato - Anamorphoses III for piano, 2', 1991 revised in 2012. Révolte sans paroles for mezzo-soprano, flute and piano, 16'30, 2000. and Elan brisé and flute and piano, 6'30, 2005. In 2001, on the ocassion of the premier of Révolte sans paroles at the Centre Culturel Jacques Brel of of Villebon-sur-Yvette, she was invited to give a conference on her works at the Conservatoire Erik Satie. In April 2002, her songs were selected by the ensemble North /South Consonance directed by Max LIFCHITZ in a competition. In 2012, the Bartoquades were chosen to be on the list of works proposed by the FFEM for their examination list for intermediate pianists. On the su.
$7.95
7.4 €
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Piano solo
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Marie-Agnès Nataf
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Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
KIRCHEN-SYMPHONIE for organ and brassband, opus 18 (Parts)
Brass Ensemble Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 3 - Digital Download S…
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Brass Ensemble Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1107291 Composed by Julius Katterfeldt (1813-1886). Classical,Sacred. Score and parts. 42 pages. Albismusic #709953. Published by Albismusic (A0.1107291). Julius Katterfeldt was born in Wandsbek in 1813. Wandsbek was not yet part of Hamburg at that time. His father Johann Hinrich Katterfeldt was the organist at the famous Schnitger organ of Hamburg's main church St. Jakobi. He also gave his son first music lessons. Later he was a pupil of the famous Christian Heinrich Rinck in Darmstadt. Julius Katterfeldt was first organist at the church of St. Johannes in Eppendorf. In 1840, Katterfeldt was appointed by the Danish king to the post of cathedral organist in Schleswig. After the Schleswig-Holstein uprising (1848 to 1851) he had to give up his organist post at the cathedral. Friedrich von Reventlou (1797-1874) brought Katterfeldt to the monastery church in Preetz, where Renventlou was provost, because of the political quarrels over the county of Holstein. In Preetz he even had to take on sexton duties in addition to organ duties. After the war (Battle of Dybbøl/DK), Schleswig once again belonged to the Republic of Prussia. For this reason, the German Emperor had a new tower built for Schleswig Cathedral in 1864. It can be assumed that the church symphony by Julius Katterfeldt was composed for this purpose beforehand and was therefore later published by the renowned Berlin music publisher BOTE & BOCK. His Church Symphony Opus 18, for brassband and organ, is dedicated to the Prussian Emperor Wilhelm I. Katterfeldt’s Church Symphony is the first original symphonic work for the instrumentation organ and brass band. His son-in-law was the Schwerin cathedral organist George Hepworth (1825-1918). Through his contacts in England, some of J. Katterfeldt's organ works were published in the anthologies Organist's Quarterly Journal (editor, William Spark). this publication: ISMN 979-700-212-81-4 (including organscore!) conductor’s score: ISMN 979-700-212-81-0.
$17.99
16.74 €
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Julius Katterfeldt
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KIRCHEN-SYMPHONIE for organ and brassband, opus 18
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Albismusic
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SheetMusicPlus
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
15.77 €
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Chamber Orchestra
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Haydn Piano Sonata 40.2 Presto (Classical Music for Tablet Series)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.818283 By Stephen R Dalrymple. By F…
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Piano Solo - Level 3 - Digital Download SKU: A0.818283 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Score. 14 pages. Stephen R Dalrymple #4967139. Published by Stephen R Dalrymple (A0.818283). Piano Sonata 40.2 Presto (Classical Music for Tablet Series) Franz Joseph Haydn was born in 1732 in a small village in Austria, near the Hungarian border. ♫ His father was a wheelwright and a leader of the town. His mother had been a cook in the palace of a Count. His father had taught himself to play the harp. His family was musical and often sang together (16 brothers and sisters). His father saw that he was extremely musical and that he couldn’t get the education he needed in his little village. When he was 6 years old, he was sent to the home of a relative about 7 miles away to study to be a musician. He never lived with his parents again. ♫ In 1752 he was employed by Count Karl Joseph Morzin, leading the Count’s small orchestra and writing the first of his symphonies. ♫ In 1760 he married Maria Keller. They had a very unhappy marriage, producing no children. ♫ In 1760 Count Paul Andre Esterhazy (one of the wealthiest and most important nobles in the Austrian empire) hired him as assistant director of music. In 1766 at the age of 34, Prince Nikolaus Esterhazy appointed Haydn his Director of Music. His job was divided between the Esterhazy palace in Austria their palace across the border Hungary. ♫ Haydn dedicated Piano Sonata 40 to Princess Marie Esterhazy. He worked for the Esterhazys for the next 28 years, writing hundreds of pieces of music for the prince. After about 15 years, he signed a new contract allowing him to write music for other customers. Haydn’s reputation grew to international fame. ♫ Haydn wrote 104 Symphonies. (Some count 107.) Not unlike George Washington, nicknamed the “Father of our Countryâ€, yet had no children, Haydn is known as the “Father of the Symphony.†and the “Father of the string Quartet.†♫ Napoleon captured Vienna in 1809. Napoleon, himself, ordered an honor guard be placed at Haydn’s home where Haydn lay dying. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit this screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
3.71 €
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Piano solo
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Stephen R Dalrymple
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Haydn Piano Sonata 40.2 Presto
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Stephen R Dalrymple
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SheetMusicPlus
Haydn Piano Sonata 40.1 Allegretto innocente (Classical Music for Tablet Series)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.818282 By Stephen R Dalrymple. By F…
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Piano Solo - Level 3 - Digital Download SKU: A0.818282 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Score. 17 pages. Stephen R Dalrymple #4967137. Published by Stephen R Dalrymple (A0.818282). Franz Joseph Haydn was born in 1732 in a small village in Austria, near the Hungarian border. ♫ His father was a wheelwright and a leader of the town. His mother had been a cook in the palace of a Count. His father had taught himself to play the harp. His family was musical and often sang together (16 brothers and sisters). His father saw that he was extremely musical and that he couldn’t get the education he needed in his little village. When he was 6 years old, he was sent to the home of a relative about 7 miles away to study to be a musician. He never lived with his parents again. ♫ In 1752 he was employed by Count Karl Joseph Morzin, leading the Count’s small orchestra and writing the first of his symphonies. ♫ In 1760 he married Maria Keller. They had a very unhappy marriage, producing no children. ♫ In 1760 Count Paul Andre Esterhazy (one of the wealthiest and most important nobles in the Austrian empire) hired him as assistant director of music. In 1766 at the age of 34, Prince Nikolaus Esterhazy appointed Haydn his Director of Music. His job was divided between the Esterhazy palace in Austria their palace across the border Hungary. ♫ Haydn dedicated Piano Sonata 40 to Princess Marie Esterhazy. He worked for the Esterhazys for the next 28 years, writing hundreds of pieces of music for the prince. After about 15 years, he signed a new contract allowing him to write music for other customers. Haydn’s reputation grew to international fame. ♫ Haydn wrote 104 Symphonies. Not unlike George Washington, nicknamed the “Father of our Countryâ€, yet had no children, Haydn is known as the “Father of the Symphony.†♫ Napoleon captured Vienna in 1809. Napoleon, himself, ordered an honor guard be placed at Haydn’s home where Haydn lay dying. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit this screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
3.71 €
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Piano solo
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Stephen R Dalrymple
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Haydn Piano Sonata 40.1 Allegretto innocente
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Stephen R Dalrymple
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SheetMusicPlus
SOUVENIR DE PORTO RICO (Marche des Gibaros, Op. 31) - for Piano Solo
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Louis Moreau Gott…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Louis Moreau Gottschalk (1829-1869). Arranged by Flavio Regis Cunha. Romantic Period, Ragtime, Graduation, Recital. Score. 12 pages. Published by Flavio Regis Cunha
Souvenir de Porto Rico, Op. 31, is a musical composition for piano by American composer Louis Moreau Gottschalk written from 1857 during a tour in Puerto Rico. Dedicated to the Dutch piano virtuoso and salon music composer Ernest Henry Lubeck, and published in Mainz circa 1860 with the subtitle of Marche des Gibaros, it is based on the Christmas folk song 'Si me dan pasteles, denmelos calientes', performed by local peasants known as Jíbaros.<br> <br> The piece makes use of Latin-American and Afro-American melodies and rhythms almost fifty years before early ragtime and jazz would popularize its use.Souvenir de Porto Rico was written in the last trimester of 1857, when of Gottschalk's stay at the sugar plantation of English-born Mr. Cornelius Cartwright, in Plazuela. At the time, Gottschalk was on vacation with singer Adelina Patti and her father. He would decide not to leave Puerto Rico, but instead remain there for weeks. During this period he composed a number of additional pieces after the local musical styles.Gottschalk would say about the setting where he composed the piece: "[I was] perched upon the edge of a crater, [and] my cabin overlooked the whole country. Every evening I moved my piano out upon the terrace, and played for myself alone, everything that the scene opened up before me inspired. It was there that I composed 'Marche des Gibaros.'.
$4.99
4.64 €
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Piano solo
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Louis Moreau Gottschalk
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SOUVENIR DE PORTO RICO
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Flavio Regis Cunha
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SheetMusicPlus
I'm Forever Blowing Bubbles
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1452471 By George Gershwin. By John…
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Piano Solo - Level 4 - Digital Download SKU: A0.1452471 By George Gershwin. By John W. Collette. Arranged by Timothy Stapay/George Gershwin. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 5 pages. Timothy Stapay #1031803. Published by Timothy Stapay (A0.1452471). Here is George Gershwin's version of I'm Forever Blowing Bubbles, which I arranged based on a Gershwin piano roll from the early 20th century. It was held in a private collection for decades. Here for the first time is my sheet music arrangement for this classic from long ago. Before he was famous, George was what was known as a song plugger. He would play newly composed songs to help generate record sales. In the early 20th century, many homes had player pianos. George's performance was preserved on such a roll and is only now available to the general public.Composed in 1918 by John W. Collette. The phrase “blowing bubbles” symbolizes the act of chasing dreams, hopes, and aspirations. Just like soap bubbles that float away and disappear, dreams can be elusive, fleeting, and transient. Famously covered by Doris Day.Lyrics:[Verse 1]I'm dreaming dreamsI'm scheming schemesI'm building castles highThey're born anewTheir days are fewJust like a sweet butterflyAnd as the daylight is dawningThey come again in the morning[Chorus]I'm forever blowing bubblesPretty bubbles in the airThey fly so highNearly reach the skyThen like my dreams.
$6.99
6.51 €
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Piano solo
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George Gershwin
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I'm Forever Blowing Bubbles
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Timothy Stapay
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SheetMusicPlus
Baroque Feeling For Harp
Harp
Harp - Level 2 - Digital Download SKU: A0.889410 Composed by Luis Anjos Teixeira. C…
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Harp - Level 2 - Digital Download SKU: A0.889410 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score. 4 pages. Luis Anjos Teixeira #3388873. Published by Luis Anjos Teixeira (A0.889410). Baroque Feeling is for my Father. The one who never knew that I was born! One time I visited him because he was a great artist and a close friend of my Grandpa. I just wanted to be a bit closer to my Grandpa, and had no idea either that this man was actually real my Father. Now that I know this, and they are all gone! I feel sad, very sad, I would have hugged him if I knew it. My Father was called Pedro Augusto Franco Dos Anjos Teixeira, and music helps me to feel him very close, even to communicate with him.
$7.99
7.44 €
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Harp
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Luis Anjos Teixeira
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Baroque Feeling For Harp
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Luis Anjos Teixeira
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SheetMusicPlus
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