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Like Breathing
Sheetmusic to print
51 sheet music found
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51
Like Breathing
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Contemporary
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Benj Pasek and Justin Paul
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Anita Cracauer
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Like Breathing
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Custom Arrangements, LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Trombone,Bass Voice,Drums,Guitar,Percussion,Piano,Synthesizer,Tenor Saxophone,Trumpet - Level 4 - Digital ...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Trombone,Bass Voice,Drums,Guitar,Percussion,Piano,Synthesizer,Tenor Saxophone,Trumpet - Level 4 - Digital Download SKU: A0.892633 Composed by Benj Pasek and Justin Paul. Arranged by Anita Cracauer. Contemporary. Score and parts. 34 pages. Custom Arrangements, LLC #6510507. Published by Custom Arrangements, LLC (A0.892633). This is the full score and all instrumental parts for the choral arrangement of Like Breathing. The instrumentation is for piano, synth, guitar, bass, drums, percussion, 3 trumpets, 2 trombones, bass trombone, alto saxophone, tenor saxophone, and baritone saxophone.Anita's show choir music catalog can be found at www.ShowChoirStock.com, including her own original music and the music of Scott Alan, Kerrigan/Lowdermilk, Ben Wexler, and more!
$80.00
Breathing - Score Only
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Haydn Reeder
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Breathing - Score Only
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Haydn Brett Reeder
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SheetMusicPlus
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1155519 Composed by Haydn Reeder. Chamber,Contemporary. 4 pages. Haydn Brett Reeder #7...
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1155519 Composed by Haydn Reeder. Chamber,Contemporary. 4 pages. Haydn Brett Reeder #755813. Published by Haydn Brett Reeder (A0.1155519). Students and professionals alike will enjoy this straightforward piece. The main thing is to take care of the tuning of the double-stops. There is obvious reference to the title in the repeated time signatures, the dynamics and the thick texture. This movement, the second of a set of three,is quite short, probably because the opening harmony has a strong presence either by interrupting or becoming a point of return and also, being a symmetrical chord, has a calming effect within other contexts.
$4.00
Like Breathing
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Choral 3-part
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INTERMEDIATE/ADVANCED
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Benj Pasek and Justin Paul
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Anita Cracauer
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Paul
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Like Breathing
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Custom Arrangements, LLC
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SheetMusicPlus
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.892632 Composed by Benj Pasek and Justin Paul. Arranged by Anita Cracauer. A Cappella. Octavo. 15...
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.892632 Composed by Benj Pasek and Justin Paul. Arranged by Anita Cracauer. A Cappella. Octavo. 15 pages. Custom Arrangements, LLC #6510501. Published by Custom Arrangements, LLC (A0.892632). From the musical Edges, this ballad is an early gem of the now famous songwriting duo Pasek & Paul. The lyrics are about finding one's path in life--perfect for a graduation ceremony or other special event. The arrangement features a substantial solo and an a cappella section. Appropriate for any high school, community, or church choir. Performance time is approximately 3:55.Parts for rhythm section (Piano/Synth/Guitar/Bass/Drums/Percussion/3 Tpt/2 Tbn/Bass Trombone/Alto, Tenor, & Bari Sax) are available as a separate package and includes a full score.Email music@showchoirstock.com for the performance track of this arrangement.Anita's show choir music catalog can be found at www.ShowChoirStock.com, including her own original music and the music of Scott Alan, Kerrigan/Lowdermilk, Ben Wexler, and more!
$3.99
Like Breathing
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Choral SATB
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ADVANCED
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Benj Pasek and Justin Paul
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Anita Cracauer
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Paul
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Like Breathing
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Custom Arrangements, LLC
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.892631 Composed by Benj Pasek and Justin Paul. Arranged by Anita Cracauer. A Cappella. Octavo. 1...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.892631 Composed by Benj Pasek and Justin Paul. Arranged by Anita Cracauer. A Cappella. Octavo. 16 pages. Custom Arrangements, LLC #6503247. Published by Custom Arrangements, LLC (A0.892631). From the musical Edges, this ballad is an early gem of the now famous songwriting duo Pasek & Paul. The lyrics are about finding one's path in life--perfect for a graduation ceremony or other special event. The arrangement features a substantial male solo and an a cappella section. Appropriate for any high school, community, or church choir. Performance time is approximately 3:55.Parts for rhythm section (Piano/Synth/Guitar/Bass/Drums/Percussion/3 Tpt/2 Tbn/Bass Trombone/Alto, Tenor, & Bari Sax) are available as a separate package and includes a full score.Email music@showchoirstock.com for the performance track of this arrangement.Anita's show choir music catalog can be found at www.ShowChoirStock.com, including her own original music and the music of Scott Alan, Kerrigan/Lowdermilk, Ben Wexler, and more!
$3.99
Fugue No. 22 In B Flat Minor, Bwv 867
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Classical
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Johann Sebastian Bach
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Nathan Wollmann
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Fugue No. 22 In B Flat Minor,
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Nathan Wollmann
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.546077 Composed by Johann Sebastian Bach. Arranged by Nathan Wollmann....
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.546077 Composed by Johann Sebastian Bach. Arranged by Nathan Wollmann. This edition: Interactive Download. Classical. Score and parts. 18 pages. Duration 155. Nathan Wollmann #7jW1lNU2qFmYeJg9K7pQhT. Published by Nathan Wollmann (A0.546077). Key: Bb minor.This fugue is very chorale-like. It is a five voice fugue and so this arrangement is one voice per instrument. Fugues with less voices are often arranged for quintet because keyboard instruments don't have the limitations like breathing and the difficulty of large jumps. The rhythmic simplicity of this fugue though lends itself better to one fugue-voice, one instrument arrangement. Breathing and range may still be a challenge. I believe that Bach voiced fugues and put them in certain keys for good reason, and thus those elements haven't been altered. But there is a lot of voice-crossing in this fugue and I favored comfortable range over maintaining fugue-voice to keep the individual parts as simple as possible.
$4.00
Like Breathing from Edges - Piano/Vocal, Singer Pro
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Piano, Voice
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Broadway
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Like Breathing from Edges - Pi
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Musicnotes
Like Breathing Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal;S...
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Like Breathing Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal;Singer Pro, instruments: Voice 1;Voice 2;Voice 3;Voice 4;Piano; 11 pages -- Show/Broadway~~Musical
$9.95
Bubbles, Floating Bubbles (piano solo)
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Piano solo
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INTERMEDIATE/ADVANCED
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Juan MarÃa Solare
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if not, 3 minutes)
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Bubbles, Floating Bubbles
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instruction...
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Piano Solo - Level 4 - Digital Download SKU: A0.1134936 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 8 pages. Juan Maria Solare #652301. Published by Juan Maria Solare (A0.1134936). Juan MarÃa Solare: Bubbles, Floating Bubbles - a polyrhythmic etude Concert etude composed in Bremen (2-3 July) and Worpswede (5 July 2010). Duration: 4:30 (if the repetition -from bar 28 to the end- is being played; if not, 3 minutes). Bublles, Floating Bubbles - by Juan MarÃa Solare Bubbles, Floating Bubbles on Youtube: Bubbles, Floating Bubbles on Spotify: This composition is a concert etude, since it can be performed at a recital (and not only used to practice). The degree of virtuosity is relatively low, but nevertheless not suitable for absolute beginners. Technically, the main characteristic of this piece is the polyrhythm 2 against 3: the melody subdivides the quarter in 2, and the accompaniment plays triplets. In this sense, an answer to Carl Czerny's polyrhythmic studie in E major. Please use abundant pedal when playing this piece. The idea is to generate a cloud of sound, not a machinal pattern. The sound character of this piece should be closer to Debussy than to Scarlatti. The initial indication scorrevole (fleeting) should orientate the character and the sound quality, the touch. Fermatas and caesuras should add time to the bar, like breathing in. In bar 8 (end) the silence is only in he left hand: the note of the right hand shouldn't be interrupted. This is actually clear if one read the rhythms carefully, but my experience tells me that it is prudent to underline this particular point. In bar 16 (and similar places), left hand: it is the central melody what should be in foreground, not the bass. Imagine that the melody is played by a cello or viola, and the bass by a double bass (or better: a bassoon). Try to achieve a different timbre and to separate therefore both layers. The title refers to this poem: Sum venti ingenium breve Flos sum, scilicet, aeris …… Sum blandum, petulans, vagum, Pulchrum, purpureum, et decens, Comptum, floridulum, et recens. Richard Crashaw -Jacobean English poet- (1613-1649), Bulla (Bubble) I am the brief nature of the wind To be sure, I am the flower of air ...... I am charming, wanton, inconstant, Beautiful, gleaming, and noble, Ornate, somewhat blooming, and fresh.
$3.00
Moonlight Sonata 1st Movement (Brass Band)
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Classical
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Ludwig van Beethoven
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Matt Lax
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Moonlight Sonata 1st Movement
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Matthew Lax
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SheetMusicPlus
Large Ensemble B-Flat Tuba,B-Flat trombone,Baritone Horn TC,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Euphonium,Flugelhorn,Timpani - Level 5 ...
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Large Ensemble B-Flat Tuba,B-Flat trombone,Baritone Horn TC,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Euphonium,Flugelhorn,Timpani - Level 5 - Digital Download SKU: A0.818009 Composed by Ludwig van Beethoven. Arranged by Matt Lax. Romantic Period. Score and parts. 35 pages. Matthew Lax #3031799. Published by Matthew Lax (A0.818009). Beethoven's Moonlight Sonata is one of his most famous piano works. The title Moonlight was given after Beethoven's death when the piece was likened to the moonlight reflecting on lake Lucerne.Here arranged for full Brass band, this piece will test any band's ability to play long slow melodies and keeping triplets smooth and relaxed. Many parts are doubled up to enable stagger breathing in the almost relentless flowing passages. The famous piano spread arpeggios are spread across the band in a smooth bell-like style. A challenge for any band to get together, this work is aimed at more advanced bands.Duration: 5 minsCheck out my other arrangements on Sheet Music Plus here: http://www.sheetmusicplus.com/publishers/matthew-lax/5267.If you like my arrangement please let me know by submitting a review (link above).Thank you.
$25.00
Trumpet 101
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Trumpet
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BEGINNER
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Jennifer Watts
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Trumpet 101
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Jennifer Watts
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SheetMusicPlus
Trumpet Solo - Level 1 - Digital Download SKU: A0.1011071 Composed by Jennifer Watts. Instructional. Individual part. 18 pages. Jennifer Watts #3011919. ...
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Trumpet Solo - Level 1 - Digital Download SKU: A0.1011071 Composed by Jennifer Watts. Instructional. Individual part. 18 pages. Jennifer Watts #3011919. Published by Jennifer Watts (A0.1011071). The purpose of this book, this book has been designed for beginner trumpet students who want to study the trumpet. The student will find it challenging but will achieved the goal of learning base note names, what valves to push along with notation, like the different rest, basic time signature along with basic breathing tips. These materials should be helpful for any beginner trumpet player who would like to start studying the trumpet. Breathing is one of the most natural things we do; when we apply it to trumpet playing we frequently distort certain aspects. With good breathing habits all aspects of playing improve. This not only includes tone quality, range, and endurance, but also tonguing, slurring, and even fingering. Proper breathing is inhaling and exhaling large amounts of air, it is more important to breath from the diaphragm. Remember it’s important to feel relaxed when you breath, this well help your air flow and to breath better. When we breathe, we store all our air in the lungs, and then we start to breath from the diaphragm. o Empty the lungs entirely. o Slowly lower the diaphragm allowing air to enter the lungs while filling the bottom of the lungs with air. o Expand the ribs without straining. o Allow the lungs to completely fill.
$5.99
Солнце (Sun)
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Choral SATB
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Cassy Gress
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Солнце
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Cassy Gress
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Digital Download SKU: A0.1418462 Composed by Cassy Gress. 21st Century. 10 pages. Cassy Gress #1000029. Publishe...
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Choral Choir,Choral,SATB Chorus divisi - Digital Download SKU: A0.1418462 Composed by Cassy Gress. 21st Century. 10 pages. Cassy Gress #1000029. Published by Cassy Gress (A0.1418462). On April 8, 2024, I had the privilege to be able to view a solar eclipse in totality. I'd previously seen one at around 99% totality, but 100% is a completely different experience. I periodically glanced at the sun in my protective glasses, watching the disc shrink down to nothing, not expecting much other than the absence of a sun. But I looked away for a moment, and my son suddenly cried, It's there!I turned and gasped: the sky was a flat twilight blue, and a crisp brilliant ring glowed in the sky, safe to view with the naked eye. The world was still, strangely silent, alien and new. We all tried to grab as many pictures as we could. After a few minutes, the moon continued its arc across the sky, and the sun's glare abruptly reappeared, already blinding even as a sliver. I can still see that ring in my mind's eye, fiercely burning, as if someone had literally cut a circle out of the sky and exposed another universe behind it.In this piece I tried to capture the growing ominous wonder of an eclipse approaching totality. While the 2024 eclipse was not visible in Russia, the Russian word for sun, Ñолнце (solntse), has a lily-like fragility to it that the English equivalent does not. Various parts of the choir repeat the word throughout the piece, and the repeated ts and s sounds should create a percussive susurrance. Stagger breathing should be used throughout.Also repeated is the Russian word for moon, луна (luna). As the eclipse approaches that crystalline moment of totality, the moon becomes more and more prominent and the text more chantlike. The refrain, first sung by a solo bass at bar 7, and sung in variation by the other parts thereafter, is repeated in its original form once by the sopranos near the top of their range. This represents the sun in final desperate ecstasy, before it too collapses into the inevitability and madness of occultation.After an indefinite sudden pause, the shock of the moment, the choir reverently sings suscipe deprecationem nostram. Glorificamus te. As the moon frees the sun from its cold grip, the menace of the previous section threatens to return, but just as quickly fades, revealing once again Ñолнце в небе (the sun in the sky).
$1.99
The Carnival of the Animals - 1. Introduction and the Lion's Royal March
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Classical
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Camille Saint-Saens
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Sam Bateman
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The Carnival of the Animals -
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Sam Bateman
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.948101 Composed by Camille ...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.948101 Composed by Camille Saint-Saens. Arranged by Sam Bateman. Children,Contemporary,Romantic Period. Score and parts. 25 pages. Sam Bateman #3022597. Published by Sam Bateman (A0.948101). In this introductory movement, listen to the powerful melodies and pounding bass tone, as you imagine a mighty lion proudly on the prowl, giving his ferocious roar! This magnificent piece of music will give children and adults alike goosebumps all over, as they can practically feel the lion breathing down their necks. And it's all yours for a mere 15 of your American dollars! If you'd like to hear some of my other arrangements, feel free to check out my YouTube channel, Sam Bateman's Music. If you would like to contact me for any inquiries or requests, feel free to email me at sam.bateman.music@gmail.com, and I'll respond back to you as soon as possible.
$15.00
2020: The Year We Could Not Breathe
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Flute
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ADVANCED
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Adrian Dee
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2020: The Year We Could Not Br
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Adrian Dee
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SheetMusicPlus
Flute Solo,Soprano Flute - Level 5 - Digital Download SKU: A0.1289764 Composed by Adrian Dee. 21st Century,Chamber,Classical. Individual part. 10 pages. ...
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Flute Solo,Soprano Flute - Level 5 - Digital Download SKU: A0.1289764 Composed by Adrian Dee. 21st Century,Chamber,Classical. Individual part. 10 pages. Adrian Dee #880461. Published by Adrian Dee (A0.1289764). I was thinking about all the ways in which we could not breathe in 2020 - George Floyd's last words, the COVID-19 pandemic putting us all on masks and respirators, the wildfires filling our homes with smoke, the racism that has silenced so many for so long. I thought it would be interesting to write a piece with all that in mind for flute, an instrument which is, of course, all about breathing.  The piece is one movement with four sections: George Floyd, Protests, Respirators, and Wildfires. It runs approximately 9 to 10 minutes, at the performer’s discretion. It requires some improvisation, a few special effects (multiphonics, use of voice, jet whistle), some serious breath control, and a lot of energy. The performer is asked to breathe in specific ways, to make the audience aware of the breathing, and to become uncomfortably short of breath.  There is also optional use of electronic Loop for layering voices in the final section.This piece was premiered by Anthony Trionfo at the National Flute Association convention, Aug. 4, 2023. Check out the Youtube link for an exciting performance.This is an intensely emotional piece and unlike my other compositions. I'd love to hear your feedback: adriandeeflute@gmail.com.
$15.99
All Creatures of our God and King Late Intermediate Piano Solo
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Piano solo
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INTERMEDIATE/ADVANCED
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Lasst Uns Erfreuen
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Amanda Tero
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eighth notes vs
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All Creatures of our God and K
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Amanda Tero
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1417376 Composed by Lasst Uns Erfreuen. Arranged by Amanda Tero. Christian,Religious,Sacred. Score. 10 pa...
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Piano Solo - Level 4 - Digital Download SKU: A0.1417376 Composed by Lasst Uns Erfreuen. Arranged by Amanda Tero. Christian,Religious,Sacred. Score. 10 pages. Amanda Tero #998921. Published by Amanda Tero (A0.1417376). Delight your audience with the All Creatures of our God and King piano solo, designed for late intermediate players. Ideal for church performances or recitals, this piece includes lively triplets in both hands, making it an exciting show-stopper.The late intermediate piano solo of All Creatures of our God and King includes popular elements like fast triplets, octaves, polyrhythms (2 against 3), and a dramatic ending.I arranged All Creatures of our God and King as a traditional hymn with a contemporary flair. The driving triplets give it a “rock†feel while low left hand octaves add depth of sound. There are a lot of patterns which makes this late intermediate solo easier to learn–the challenge is getting it up to speed fluently!For church services, recitals, and spring/summer music events, All Creatures of our God and King late intermediate piano sheet music solo will capture the listeners with delight and excitement.Similar in level to most Level 4-5 piano curricula and ABRSM Level 4.The basic format of All Creatures of our God and King late intermediate piano solo is: introduction, verse, interlude, verse, ending.6 pages. Key of C major.Approx. 2:00 performance time. Musical Elements In All Creatures of our God and King late intermediate piano solo Sheet Music Key of C major Time signature: 4/4 Tempo: fast, exuberant Note values: whole notes, dotted half notes, half notes, dotted quarter notes, quarter notes, eighth notes, eighth note triplets Note reading: right hand treble clef C4 to C7, left hand bass clef C1 to G4 Ledger lines (up to 5 lines) Harmonic octaves in left hand and right hand Triplets Polyrhythms (2 against 3; eighth notes vs. eighth note triplets) Fermata Practice Tips for All Creatures of our God and King late intermediate piano solo This is an exciting arrangement that the student may be tempted to play faster than possible. Encourage the student to breathe while they play to keep the tempo steady and manageable (I like recommending breathing in for one measure, out for one measure).There may be the temptation to have a heavy pulse for each beat, but focus on phrasing an entire measure or two.If the student struggles to bring out the measure for the first verse, experiment with “shadow playing,†where the student only plays the actual melody notes and “shadow plays†(puts their finger on the key, but doesn’t press down) all other notes.
$5.99
The Choir Invisible
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Choral SATB
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ADVANCED
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Nicholas White
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The Choir Invisible
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Nicholas White Music
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1257185 Composed by Nicholas White. 21st Century,Classical,Traditional. Octavo. 16 pages....
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Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1257185 Composed by Nicholas White. 21st Century,Classical,Traditional. Octavo. 16 pages. Nicholas White Music #850509. Published by Nicholas White Music (A0.1257185). George Eliot's poem is given a rich and powerful setting for choir and organ.O May I join the choir invisible  Of those immortal dead who live again  In minds made better by their presence: live  In pulses stirr'd to generosity,  In deeds of daring rectitude, in scorn For miserable aims that end with self,  In thoughts sublime that pierce the night like stars,  And with their mild persistence urge man's search  To vaster issues.      So to live is heaven:  To make undying music in the world,  Breathing as beauteous order that controls  With growing sway the growing life of man.  So we inherit that sweet purity  For which we struggled, fail'd, and agoniz'd With widening retrospect that bred despair.  Rebellious flesh that would not be subdued,  A vicious parent shaming still its child,  Poor anxious penitence, is quick dissolv'd;  Its discords, quench'd by meeting harmonies,   Die in the large and charitable air.  And all our rarer, better, truer self,  That sobb'd religiously in yearning song,  That watch'd to ease the burthen of the world,  Laboriously tracing what must be,    And what may yet be better,—saw within  A worthier image for the sanctuary,  And shap'd it forth before the multitude,  Divinely human, raising worship so  To higher reverence more mix'd with love,—   That better self shall live till human Time  Shall fold its eyelids, and the human sky  Be gather'd like a scroll within the tomb Unread forever.      This is life to come,  Which martyr'd men have made more glorious     For us who strive to follow. May I reach  That purest heaven, be to other souls  The cup of strength in some great agony,  Enkindle generous ardor, feed pure love,  Beget the smiles that have no cruelty,Be the sweet presence of a good diffus'd,  And in diffusion ever more intense!  So shall I join the choir invisible  Whose music is the gladness of the world.
$4.00
Horn Sonata No. 3 (Complete)
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French horn
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ADVANCED
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Mike Lyons
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Horn Sonata No. 3
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Published by Lyons Music Services (A0.767350). This is my third new sonata for unaccompanied French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$18.00
Sonata No. 3 for Horn and Piano
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French Horn and Piano
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ADVANCED
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Mike Lyons
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Sonata No. 3 for Horn and Pian
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Lyons Music Services
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SheetMusicPlus
French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pag...
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French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pages. Lyons Music Services #6457097. Published by Lyons Music Services (A0.767581). This is my third new sonata for French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$25.00
La Línea de la Concepción "La Sinfonía del Silencio"
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Orchestra
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BEGINNER
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Contemporary
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Alicia DomÃnguez Arcos Sona
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Alicia DomÃnguez Arcos
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La Línea de la Concepción "L
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Alicia Dominguez
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SheetMusicPlus
Full Orchestra - Level 1 - Digital Download SKU: A0.1365197 By Alicia DomÃnguez Arcos Sonay. By Alicia DomÃnguez Arcos. Arranged by Alicia DomÃn...
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Full Orchestra - Level 1 - Digital Download SKU: A0.1365197 By Alicia DomÃnguez Arcos Sonay. By Alicia DomÃnguez Arcos. Arranged by Alicia DomÃnguez Arcos. Classical,Contemporary,Instructional,Multicultural,Traditional,World. 82 pages. Alicia Dominguez #949514. Published by Alicia Dominguez (A0.1365197). The charm lies in the fact that complete silence does not occur, where there is an audience you can hear the ambient sound: The sum of the breaths, the small movements, coughs... The sound qualities of the air itself and the reverberation of the room. The spectator suddenly discovers that the piece of music is composed of the sounds that surround him and of which he is not usually aware, including his own breathing, the beating of his heart or even the plaintive sound of his own shoes. In society, noise, as in this case, sound in music is present in our daily lives, forgetting to appreciate and the importance of silence. Silence does not have to give a feeling of fear. Appreciate silence, giving it that perception of inner peace and balance, equally linked to perseverance, that perseverance that occurs with music, with its constancy and persistence making it flow. Thus, just as each musical figure has its corresponding silence representing its same value and duration. Although the painter Pablo Picasso said that you have to learn the rules like a professional to be able to break them like an artist, reaffirming what Don Blas Infante, father of the Andalusian homeland (Spain), said: any paper on the ground must always be read , since any role can be important. Music scores and the time spent making them do not take the degree of value in human beings of this century. When they own it for themselves.https://youtu.be/GvEx1Bn2HS8?si=IW1ZUw1yFcJzz0uf
$7.00
Letting Go
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Choral 3-part
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EASY
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Aneesa Chaudhry
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Aneesa Chaudhry
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Letting Go
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Aneesa Chaudhry
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SheetMusicPlus
Choral Choir,Choral (3-Part) - Level 2 - Digital Download SKU: A0.1293875 By Aneesa Chaudhry. By Aneesa Chaudhry. Arranged by Aneesa Chaudhry. Barbershop...
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Choral Choir,Choral (3-Part) - Level 2 - Digital Download SKU: A0.1293875 By Aneesa Chaudhry. By Aneesa Chaudhry. Arranged by Aneesa Chaudhry. Barbershop,Contemporary,Jazz. 3 pages. Aneesa Chaudhry #884322. Published by Aneesa Chaudhry (A0.1293875). Letting Go is a relaxing piece with simple 3 part harmony. It was originally written about working through loss and grief but can be used in many settings including meditation, relaxation, breathing work and a chilled out setting.The tune part can be sung in any octave by anyone wishing to sing it.The high part (S/T) is mostly a third higher than the tune for those wishing to sing high. Â This typically includes sopranos and tenors.The low part (A/B) is roughly a third lower than the tune. This will most likely suit altos, tenors, baritones, and basses.Please glide up and down the glissando notes to the rhythm.Tacet means to remain silent until required to sing.There is scope for improvisation with both the voice and body percussion.Individual voice parts (mp3 files) can be purchased from aneesa@aneesachaudhry.com.
$1.99
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Tree Dance
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Marimba
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ADVANCED
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Marei Suyama
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Tree Dance
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good umbrella inc
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SheetMusicPlus
Marimba Solo - Level 5 - Digital Download SKU: A0.1406581 By Marei Suyama. By Marei Suyama. 21st Century,Classical,Contemporary,Multicultural,New Age,Wor...
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Marimba Solo - Level 5 - Digital Download SKU: A0.1406581 By Marei Suyama. By Marei Suyama. 21st Century,Classical,Contemporary,Multicultural,New Age,World. Individual part. 72 pages. Good umbrella inc #989346. Published by good umbrella inc (A0.1406581). It is said that when an earthquake occurs, trees grow well.Though there is no evidence, the vibration of the earthquake seems to stir and condition the soil.Even through unprecedented disasters when the earth is cracked and the city is burnt, and even when people suffer from helplessness and anger, the trees (including apricot and blackberry branches) grow unaffectedly.Inger Christensen, the author of the poetry collection 'Alphabet', through her perceptive and lyrical senses, expressed that human beings are not managers of nature.On a lonely night, all we hear is the sound of crawling roots underneath the earth and rhythmic breathing of branches and leaves.....Not a few people consider classical music as something you listen to quietly while frowning. Tapping your feet to the rhythm is simply not acceptable. But I’ve always thought that classical music could be danceable - something that DJs can play at a club and you can move your body to.≪Tree dance≫, as the title suggests, is a musical piece featuring marimba and piano expressing the way trees dance in the wind. The music is almost like the classical version of craftwork, combining four-on-the-floor beats of techno music with the sharp sounds of modern music and organic poetry.I hope that the colorful musical notes on the score will be given life to and grow in this concert hall, creating a feast of dancing trees. I would be overwhelmed with joy to see the audience move their bodies or tap their feet to the rhythm of music. Marei Suyama
$38.00
Ben's Basics - Method for Tenor Trombone with F attachment / Bass Trombone
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Trombone
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INTERMEDIATE/ADVANCED
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Ben van Dijk
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Ben's Basics - Method for Teno
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Gordon Cherry
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SheetMusicPlus
Trombone Solo - Level 4 - Digital Download SKU: A0.1076363 Composed by Ben van Dijk. Instructional. Individual part. 108 pages. Gordon Cherry #680517. Pu...
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Trombone Solo - Level 4 - Digital Download SKU: A0.1076363 Composed by Ben van Dijk. Instructional. Individual part. 108 pages. Gordon Cherry #680517. Published by Gordon Cherry (A0.1076363). This new 4th edition of Ben van Dijk's book Ben's Basics - Method for Bass Trombone / Tenor Trombone with F attachment is now available from Cherry Classics Music. Below are Ben's thoughts about the book, which is a culmination of ideas from his years as one of the great pedagogs of the Trombone. In this book, I’d like to give you some guidance in various areas of trombone playing. Of course, there are many more topics one could address, but I have focused on three areas in this book. 1. Breathing 2. Daily Routines 3. Warm-up It is my hope to give you some perspective and direction, but it is definitely not my idea to make you dependent on this book. On the contrary, I hope to encourage you to look for ideas yourself and be as inventive as possible. Most of my ideas come from many years of playing and teaching combined with all the wonderful contacts I have had with different experts on these matters during my career. It’s a combination of the ideas which have helped me to come to where I am right now. They also have proven to be of value to many of my students. During many of the master classes I have given in the past years, students and colleagues have asked me to write down my ideas and bundle them into a book.
$37.50
Prophitiae Sibyllarum
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Choral SATB
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INTERMEDIATE
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Orlande De Lassus
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Jasper Swank
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Prophitiae Sibyllarum
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Jasper Swank
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1264673 Composed by Orlande De Lassus. Arranged by Jasper Swank. A Cappella,Historic,Religious,R...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1264673 Composed by Orlande De Lassus. Arranged by Jasper Swank. A Cappella,Historic,Religious,Renaissance. Octavo. 28 pages. Jasper Swank #857504. Published by Jasper Swank (A0.1264673). About the composer Orlando Lasso, Orlande de Lassus, Orlando di Lasso or Orlandus Lassus was born in Bergen (Dutch) or Mons (French) in Henegouwen, Belgium – which was a place in the Habsburg Netherlands at the time – in 1532, and was highly regarded as the best composer of his time. Temopraries appointed him titles like ‘ruler of music’ and ‘master of motets’. The roman-catholic composer was also one of the most productive composers of all times. Among his works are 53 masses for four to eight voices, and 1250 works for two to twelve voices in the form of motets, requiems, madrigals, chansons and songs for choir. Later in life, he wrote German drinking songs, as well as Dutch songs. From the latter category, none have been preserved. One of his drinking songs ‘Un jour vis un foulon qui fouloit’ was translated to English by William Shakespeare, after which it was used in his theatre play ‘Henry IV part 2’. About this work Prophetiae Sibyllarum is a motet in Latin for four voices. Posthumously published in 1600, it sets 12 prophecies attributed to the Sibyls (priestesses of Apollo later adopted by Christians) with a prologue.The movements are catalogued in order under separate opus numbers LV 1048 to 1060. About this edition This edition was notated from the composer’s manuscript (published around 1600), Das Chorwerk (Wolfenbüttel, 1937) and an anonymous reading score. The note values were halved for easier sightreading by modern singers. Recordings by De Labyrintho were studied for interpretation. On the base of these recordings, small checkmarks are added at places where collective breathing moments are suggested. These are not part of the manuscript.Great care has been put in the correct notation of the original work, as well as in solving apparent inconsistencies in the source materials. However, this edition was made purely to acommodate singers to study the melodic lines and should not be used for historic purposes.
$3.09
Si Je Peut T'Aimer
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Choral SATB
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INTERMEDIATE
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Contemporary
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Colby A
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Si Je Peut T'Aimer
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Colby Aguilar
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1028776 Composed by Colby A. Aguilar. 20th Century. 58 pages. Colby Aguilar #3927015. Pub...
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1028776 Composed by Colby A. Aguilar. 20th Century. 58 pages. Colby Aguilar #3927015. Published by Colby Aguilar (A0.1028776). Si Je Peut T'Aimer details the emotion of love through various seasons from the fruits of Spring to the requiems of Winter, and the roller-coaster rides throughout. Near the end, desperation starts to show, but as acceptance starts to settle in, the music slows and ends with a cadence signifying that it's time to move on.It can be performed by anyone who'd like to use, I have no set audience in mind. It can be performed by schools if they so wish and can be used to show the various displays of emotion that music can display using different methods of composition. However, I would refrain from any sorts of religious service as this is best served as entertainment. In regards to the choir, stagger breathing is highly recommended for the difficult parts, or whenever feels necessary- which could be after ever dotted half note/ measure, or after every phrase. The dynamics are left to the director or the people who shall perform it. This leaves it to be personalised for each group, and unique to each one's own story; I just gave the template. To note: one can replace the choir with another 2 cellos and 2 violins, if desired. It is also important to note that when playing, the choir is the accompaniment to the piano and strings, and serves to reinforce the story that is being told, not explicitly telling the story itself. .
$5.99
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