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In the Maze
Sheetmusic to print
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No other people
3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 Fo…
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3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 For orchestra. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 12 minutes. Schott Music - Digital #Q41782. Published by Schott Music - Digital (S9.Q41782). The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods.In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original.I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings.There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo.They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing.Something of this is in the music.Gerald Barry, 2009.
$16.99
15.71 €
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Gerald Barry
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No other people
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Schott Music - Digital
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SheetMusicPlus
The Maze
Small Ensemble Guitar - Level 2 - Digital Download SKU: A0.955032 Composed by Jim B…
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Small Ensemble Guitar - Level 2 - Digital Download SKU: A0.955032 Composed by Jim Bosse. Concert,Contemporary,Folk. Score and parts. 5 pages. Jim Bosse #4598549. Published by Jim Bosse (A0.955032). This is the sixth movement of Royal Gorge Trails, a set of ten short pieces inspired by the hiking trails and their interesting names, at the Royal Gorge Park near Cañon City Colorado. All pieces were intended to also be relatively easy. This one is scored for classical guitar trio, with a performance time of 1 minute. The piece is written as a musical maze, with each guitar weaving in and out of the others. Jim's web site is www.facebook.com/jimbosseguitar .
$1.99
1.84 €
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Jim Bosse
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The Maze
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Jim Bosse
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SheetMusicPlus
Rosary Sonatas: The Finding of the Child Jesus in the Temple
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1081597 Composed by Heinrich Ig…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081597 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 48 pages. JMJ Arrangements #685713. Published by JMJ Arrangements (A0.1081597). Now his parents went to Jerusalem every year at the feast of the Passover. And when he was twelve years old, they went up according to custom; and when the feast was ended, as they were returning, the boy Jesus stayed behind in Jerusalem. His parents did not know it, but supposing him to be in the company they went a day’s journey, and they sought him among their kinsfolk and acquaintances; and when they did not find him, they returned to Jerusalem, seeking him. After three days they found him in the temple, sitting among the teachers, listening to them and asking them questions; and all who heard him were amazed at his understanding and his answers. And when they saw him they were astonished; and his mother said to him, 'Son, why have you treated us so? Behold, your father and I have been looking for you anxiously.' And he said to them, 'How is it that you sought me? Did you not know that I must be in my Father’s house?' And they did not understand the saying which he spoke to them. And he went down with them and came to Nazareth, and was obedient to them; and his mother kept all these things in her heart. And Jesus increased in wisdom and in stature, and in favor with God and man. (Luke 2:41-52, RSV-CE).
$19.99
18.48 €
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Orchestra
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Heinrich Ignaz Franz von Biber
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Rosary Sonatas: The Finding of the Child Jesus in the Temple
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JMJ Arrangements
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SheetMusicPlus
March of the Kings
Choral 3-part
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1120365 By Philip Le Bas. B…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1120365 By Philip Le Bas. By J-B Lully / G Bizet. Arranged by Philip Le Bas. Christmas,Praise & Worship,Religious,Sacred,Traditional. Octavo. 8 pages. Philip Le Bas #721616. Published by Philip Le Bas (A0.1120365). A new arrangement by Philip Le Bas of a thirteenth century French Christmas carol from Provence harmonized by Jean-Baptiste Lully (1632-87, attrib.) and, more famously, by Georges Bizet (1838-75, in his L'Arlesienne Suite of 1872.) In France the melody is still tightly associated with Christmas, and French audiences start singing their own Christmas words whenever they hear the melody (the arranger has heard it himself!) The English translation used here is adapted from a variety of sources. The three kings (or more precisely the magi from St Matthew's gospel) are seen marching towards Bethlehem with their fantastic golden wealth and grandeur. But why are they going to see a low-born baby and why do they worship this child who will die on a cross? The organ sets the scene from the beginning with its marching accompaniment, and the first verse is sung in unison by all three parts. The second begins with a canon, as used by Bizet, and then breaks into harmony. The first section of the third verse is much quieter and legato, sung by the sopranos and altos, using wonderful chromatic harmonies based on another section from Bizet's suite. The lyrics express wonder at the beautiful music heard from the camp of the kings. The second section, sung in differentiated unison then begins to wonder why the kings stoop so low to a baby in a manger. Finally the fourth verse, sung in full harmony, returns to the marching accompaniment and reiterates the amazement of meeting these kings with their mysterious mission. The carol is aimed at parish choirs with limited resources, but a good organist. The melody is well-known, much of it is in unison, and other sections are relatively easy to sing. Care should however should be taken to sing the dotted rhythms accurately - this is what gives the carol its marching character.
$1.99
1.84 €
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Choral 3-part
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Philip Le Bas
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March of the Kings
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Philip Le Bas
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SheetMusicPlus
The Edmund Fitzgerald - Concerto for Piano and Strings
String Orchestra
String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey P…
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String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.
$9.99
9.24 €
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String Orchestra
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Geoffrey Peterson
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The Edmund Fitzgerald - Concerto for Piano and Strings
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Geoffrey Peterson
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SheetMusicPlus
Dreams in a Color Maze - Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.572655 Composed by James Michael S…
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Flute,Piano - Level 3 - Digital Download SKU: A0.572655 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Holiday,Jazz,Love,New Age,Wedding. Score and part. 8 pages. James M Stevens Music ASCAP #3872681. Published by James M Stevens Music ASCAP (A0.572655). This is an original composition for flute and piano in a relaxing, romantic, and dreamy style. There is a separate flute part in the score and the piano can serve as a stand alone solo. The track as heard is available under Dreams in a Color Maze Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=Il6Givdgaw4
$6.99
6.46 €
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Flute and Piano
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James Michael Stevens
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Dreams in a Color Maze - Flute & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Dreams in a Color Maze - Violin & Piano
Violin and Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.572654 Composed by James Michael …
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Piano,Violin - Level 4 - Digital Download SKU: A0.572654 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Holiday,Jazz,New Age,Wedding. 8 pages. James M Stevens Music ASCAP #3872339. Published by James M Stevens Music ASCAP (A0.572654). This is an original composition for violin and piano in a relaxing, romantic, and dreamy style. There is a separate violin part in the score and the piano can serve as a stand alone solo. The track as heard is available under Dreams in a Color Maze Piano Track. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=M29gUl_G5M4
$6.99
6.46 €
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Violin and Piano
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James Michael Stevens
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Dreams in a Color Maze - Violin & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
LILLY'S DANCE (THE TUMBLER)
Tenor Saxophone and Piano
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Te…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.876447 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 24 pages. JoeCopio Music LLC #53323. Published by JoeCopio Music LLC (A0.876447). LILLY’S DANCE (THE TUMBLER) Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio LILLY’S DANCE (THE TUMBLER) is a delightful Latin flavored dance that was inspired by Little Miss Lilly who could tumble on command all by her big self when she was only 15 months old. When I first saw her dance and tumble at such a young age, I was so moved that I wrote this piece to celebrate her ability to amaze everyone with her dancing and tumbling. LILLY’S DANCE (THE TUMBLER) was originally written and arranged for a small ensemble, band, stage band or combo with flexible instrumentation so that it may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of LILLY’S DANCE (THE TUMBLER) makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, LILLY’S DANCE (THE TUMBLER) has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece is composed in the same style of the other dances in the set - all of which have been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for LILLY’S DANCE (THE TUMBLER) includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Depart.
$4.99
4.61 €
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Tenor Saxophone and Piano
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Joe Procopio
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the vocalist/bassist I
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LILLY'S DANCE
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JoeCopio Music LLC
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SheetMusicPlus
Rosary Sonatas: The Descent of the Holy Spirit
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1081709 Composed by Heinrich Ig…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1081709 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 78 pages. JMJ Arrangements #685832. Published by JMJ Arrangements (A0.1081709). When the day of Pentecost had come, they were all together in one place. And suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit and began to speak in other tongues, as the Spirit gave them utterance. Now there were dwelling in Jerusalem Jews, devout men from every nation under heaven. And at this sound the multitude came together, and they were bewildered, because each one heard them speaking in his own language. And they were amazed and wondered, saying, 'Are not all these who are speaking Galileans? And how is it that we hear, each of us in his own native language? Par′thians and Medes and E′lamites and residents of Mesopota′mia, Judea and Cappado′cia, Pontus and Asia, Phryg′ia and Pamphyl′ia, Egypt and the parts of Libya belonging to Cyre′ne, and visitors from Rome, both Jews and proselytes, Cretans and Arabians, we hear them telling in our own tongues the mighty works of God.'†--Acts 2:1-11 (RSV-CE).
$19.99
18.48 €
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Orchestra
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Heinrich Ignaz Franz von Biber
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Rosary Sonatas: The Descent of the Holy Spirit
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JMJ Arrangements
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SheetMusicPlus
The Swarm II
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1215853 Composed by Elizabeth Borow…
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Piano Solo - Level 5 - Digital Download SKU: A0.1215853 Composed by Elizabeth Borowsky. 20th Century,Classical,Contemporary. Score. 6 pages. Piano Prodigies #812546. Published by Piano Prodigies (A0.1215853). They’re back! In this sequel to The Swarm, it initially seems comparatively innocent. But the intensity picks up, just as we enter a carnival. Here, we try to cleverly hide from them as we make our way past the organ grinder, by the ferris wheel, and into the maze of a fun house. The middle section again includes improvisation, and it is suggested that you use the notes within the G blues scale. In the final Prestissimo section we return to the chase, fast and furious through to the end!
$7.00
6.47 €
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Piano solo
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Elizabeth Borowsky
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The Swarm II
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Piano Prodigies
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SheetMusicPlus
Then Nature Breathed
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.851198 Composed by Dan Jones. 20th …
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Piano Solo - Level 4 - Digital Download SKU: A0.851198 Composed by Dan Jones. 20th Century,Contemporary,New Age. Score. 4 pages. DanJonesGuitarist #6478273. Published by DanJonesGuitarist (A0.851198). Then Nature Breathed (For Flo) During the international pandemic lockdown of 2020, I was living in Perthshire, Scotland. I am a keen road and hill runner, and I often find solitude, fitness, and mental rejuvenation in the foothills of the Ochils. Perthshire is a beautiful place to run. Due to the lack of planes and cars, I was amazed at the sudden abundance of animals and plant growth which appeared quite suddenly during that spring and summer. I felt that nature was thanking us for a brief pause in our frantic lifestyles, where we belch emissions and pollute our souls, minds and the planet in a frantic rush to feed our lust for materialism. I feel that many people (myself included) were able to stop, reflect and re-evaluate our roles in our lives. Pause Mere waves on this ocean navigating currents of precious space Do less or more Home a sacred place for some Breathe Breathe the light of this divine time Nature revisits Clear air Silent paths Moments Time for less, for more Movement Space Open creative pause. (Kirsty Jones) I hope you enjoy playing ‘Then Nature Breathed’. (For Kirsty) Dan Jones ©www.danjonesguitarist.com2021
$7.95
7.35 €
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Piano solo
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Dan Jones
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Then Nature Breathed
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DanJonesGuitarist
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SheetMusicPlus
Corn Maze
String Trio: violin, viola, cello
String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.1294207 Compose…
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String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.1294207 Composed by Miriam Troxler. Chamber,Children,Halloween,Instructional. 2 pages. Miriam Troxler #884631. Published by Miriam Troxler (A0.1294207). A spooky waltz, Corn Maze celebrates fall. It is a round in F Minor. A false harmonic is used in the upper string parts. The violin and the viola parts double for smaller ensembles. An optional piano part is included for rehearsal convenience.
$3.99
3.69 €
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String Trio: violin, viola, cello
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Miriam Troxler
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Corn Maze
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Miriam Troxler
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SheetMusicPlus
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
Soprano Saxophone and Piano
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nik…
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Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
30.46 €
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Soprano Saxophone and Piano
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Nikolay Andreyevich Rimsky-Korsakov
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Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
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jmsgu3
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SheetMusicPlus
Korsakov: Flight of the Bumblebee for Viola & Piano
Viola, Piano
Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreye…
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Piano,Viola - Level 5 - Digital Download SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
30.46 €
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Viola, Piano
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Nikolay Andreyevich Rimsky-Korsakov
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Korsakov: Flight of the Bumblebee for Viola & Piano
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jmsgu3
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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
36.98 €
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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
Dreams in a Color Maze - Romantic Piano
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.572653 Composed by James Michael St…
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Piano Solo - Level 4 - Digital Download SKU: A0.572653 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Holiday,Jazz,Love,New Age,Wedding. Score. 4 pages. James M Stevens Music ASCAP #3869035. Published by James M Stevens Music ASCAP (A0.572653). Written November 6, 2018, this is an original piano composition written in a relaxed, romantic, and dreamy style in the key of F major. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the music department chairman of Welch College. https://www.youtube.com/watch?v=05CRPv2Jf-o
$4.99
4.61 €
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Piano solo
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James Michael Stevens
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Dreams in a Color Maze - Romantic Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.01 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
36.01 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Gathered in God's Love
Choral SATB
SATB choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.10-5466L…
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SATB choir, Piano (With Optional Accompaniment MP3) - Digital Download SKU: LX.10-5466L Composed by Stan Pethel. Sacred Anthem, General. Octavo. 12 pages. Lorenz Publishing - Digital Sheet Music #e10/5466L. Published by Lorenz Publishing - Digital Sheet Music (LX.10-5466L). ISBN 9780787770686.Gathered in God's love, assembled now in praise is the theme of Stan Pethel's grateful anthem describing the joy of meeting with other believers for worship. Into His presence we have come, and here we stand amazed. His glory fills this temple like that of heaven above; with joyful hearts we worship as we gather in God's love..
$2.50
2.31 €
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Choral SATB
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Stan Pethel
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Gathered in God's Love
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
How Marvelous! How Wonderful! (I Stand Amazed)
Choral SATB
Choral, Vocal SATB choir - Digital Download SKU: H1.C5875DP Composed by Mary McDona…
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Choral, Vocal SATB choir - Digital Download SKU: H1.C5875DP Composed by Mary McDonald. Piano Accompaniment with Optional Orchestra. General Worship. Octavo. 12 pages. Hope Publishing - Digital #C5875DP. Published by Hope Publishing - Digital (H1.C5875DP). Words by Charles H. Gabriel. Isaiah 53:4 - Matthew 26:39 - Mark 2:12 - Mark 14:36 - Luke 5:26 - Luke 22:39 - Luke 22:40 - Luke 22:41 - Luke 22:42 - Luke 22:43 - Luke 22:44 - 1 Corinthians 13:12 - 2 Corinthians 5:21 - Ephesians 2:4 - Eph.Original anthem with words by Charles H. Gabriel Charles Gabriel penned the words I stand amazed in the presence of Jesus the Nazarene in 1905, and did so as an expression of his own awe and amazement of Jesus' love. Mary McDonald has taken that hymn text and expertly crafted a new melody befitting of soaring choral lines that more adequately express How marvelous! How wonderful! my song shall ever be. >The Orchestration includes a Conductor's Score and parts for: 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 3 trumpets in B-flat, 2 trombones, tuba, timpani, percussion, harp, piano, 2 violins, viola, cello, and string bass.
$3.25
3 €
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Choral SATB
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Mary McDonald
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How Marvelous! How Wonderful!
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Hope Publishing - Digital
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SheetMusicPlus
Unaccompanied Tuba Suite #1 in B-flat Major
Tuba
Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baro…
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Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC #3109629. Published by Joaba LLC (A0.991803). DescriptionA delightful, intermediate level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This lively work engages the audience with a breadth of moods from enlightening to reflective to celebratory. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com.Total Duration: ~8 minutesPerformance Notes Prelude The real art of performing this piece is to master its dynamics. With the long pianissimo to forte crescendo at the introduction, the contrasting forte/mezzo piano sections and brisk, shorter crescendos for the cadences, the tubist must be aware of dynamics at all time and use them wisely.The second aspect to performing this piece is to contrast the 2 eighth note plus quarter note slurs motif against the arpeggiations. The introduction starts with the slurs and evolves into the arpeggiations by the first forte and the remaining piece explores the contrast between the two. Performers should feel free to try different dynamics, try different tempos (like zipping through the arpeggiations and slowing for the motif), etc. The goal is to bring the listener through the pleasantries of introductions to feel fresh and eager for further discourse ahead. March The rewarding challenge in this piece is to bring out the difference between cheery and con brio. The former being achieved by emphasizing the swaggering, strutting feel of the one-measure-per-beat feel and the latter by emphasizing the intervallic bounciness with the one-two march feel.Note that the motif (with the quarter note morphing into an eighth note) along with simpler arpeggiations are brought to play in a new manner reinforcing the positive mood from the prelude.The goal is to befriend the listener with an engaging, buoyant time. Air The tubist will exercise great breath control and phrasing to achieve a sublime solemnness counterbalancing the prior two movements.The motif now takes center stage headlining the main melodic phrases; however, here it is disjointed and conveys the sighing for the solemnness.After the pleasantness of the march, affableness having garnered friendship, we now open ourselves to share some somber matters and offer consolation. The intended goal here is to add depth to the relationship by addressing darker aspects in the discourse. Slip-jig Rondo Harking back to the compound meter of the prelude, this dance adventurously wakens the listener from the solemnness of the air asserting a new grandness and gladness. This is a slip-jig put into the rondo form so celebrate the main dance theme when it comes around and put fire and character into the transitions to make it worthwhile.The motif now jumps into the compound meter’s beat and morphs into three slurred, conjoint eighth notes. Now this motif enables several affects: exciting dance steps, transitions/modulations and concluding the phrases and the piece itself.The performer should aim to lead and amaze the listener with the waltz-like slip-jig rhythm and astound with the virtuosic transitions as a final send-off.
$9.99
9.24 €
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Tuba
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Jason Allie
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Unaccompanied Tuba Suite #1 in B-flat Major
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Joaba LLC
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SheetMusicPlus
(ghost) Riders In The Sky (a Cowboy Legend)
Brass quartet : 2 trumpets, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802616
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802616 By Johnny Cash. By Stan Jones. Arranged by Arthur Jesse & Peet du Toit. Contemporary. Score and parts. 9 pages. Peet du Toit #6023995. Published by Peet du Toit (A0.802616). The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever trying to catch the Devil's herd across these endless skies. The story has been linked with old European myths of the Wild Hunt, in which a supernatural group of hunters passes the narrator in wild pursuit.Stan Jones stated that he had been told the story when he was 12 years old by an old Native American who resided north-east of the Douglas, Arizona border town, a few miles behind D Hill, north of Agua Prieta, Sonora. The Native Americans, possibly Apache, who lived within Cochise County, believed that when souls vacate their physical bodies, they reside as spirits in the sky, resembling ghost riders. He related this story to Wayne Hester, a boyhood friend (later owner of the Douglas Cable Company). As both boys were looking at the clouds, Stan shared what the old Native American had told him, looking in amazement as the cloudy shapes were identified as the ghost riders that years later, would be transposed into lyrics. The melody is based on the song When Johnny Comes Marching Home.
$15.00
13.87 €
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Brass quartet : 2 trumpets, trombone, tuba
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Johnny Cash
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(ghost) Riders In The Sky
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Peet du Toit
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