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9976
When I Survey the Wondrous Cross with O Sacred Head Now Wounded (Rhythm)
Composed by Lowell Mason and Hans Leo Hassler. Arranged by Richard Kingsmore. Christian, S…
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Composed by Lowell Mason and Hans Leo Hassler. Arranged by Richard Kingsmore. Christian, Smooth Jazz, Easter, Recital, New Age. Individual Part. 2 pages. Published by Kingsmore MusicWorks, Inc. (S0.114399). - Individual Part - Christian,Smooth Jazz,Easter,Recital,New Age - Kingsmore MusicWorks, Inc.
$2.99
2.8 €
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Lowell Mason and Hans Leo Hassler
#
When I Survey the Wondrous Cross with O Sacred Head Now Wounded
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Kingsmore MusicWorks, Inc.
#
SheetMusicPlus
Amazing Grace (rhythm)
Composed by Traditional American Melody. Arranged by Richard Kingsmore. Sacred, Celtic, Ea…
(+)
Composed by Traditional American Melody. Arranged by Richard Kingsmore. Sacred, Celtic, Easter, Wedding, Recital. Individual Part. 2 pages. Published by Kingsmore MusicWorks, Inc. (S0.113609). - Individual Part - Sacred,Celtic,Easter,Wedding,Recital - Kingsmore MusicWorks, Inc.
$2.99
2.8 €
#
Traditional American Melody
#
Amazing Grace
#
Kingsmore MusicWorks, Inc.
#
SheetMusicPlus
Days of Elijah (arr. Richard Kingsmore) - Rhythm
Choir - Digital Download SKU: HX.477697 Arranged by Richard Kingsmore. This edition…
(+)
Choir - Digital Download SKU: HX.477697 Arranged by Richard Kingsmore. This edition: scorch. Praise & Worship. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #54297. Published by Hal Leonard - Digital (HX.477697).
$7.00
6.55 €
#
Days of Elijah
#
Hal Leonard - Digital
#
SheetMusicPlus
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Choral SATB
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.931836 Composed by …
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
9.36 €
#
Choral SATB
#
Nathan Petitpas - Dots and Beams
#
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters
#
Dots and Beams
#
SheetMusicPlus
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bas…
(+)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
9.36 €
#
Nathan Petitpas - Dots and Beams
#
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters
#
Dots and Beams
#
SheetMusicPlus
Classic Guitar Solos on Latin American Rhythms
Guitar notes and tablatures
In Notation And Tablature. Composed by Jorge Morel. E- book. 28 pages. Mel Bay Public…
(+)
In Notation And Tablature. Composed by Jorge Morel. E- book. 28 pages. Mel Bay Publications - Digital Sheet Music #21260EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619119420.<br> <br> Classic Guitar Solos on Latin American Rhythms is a follow-up to the popular dance rhythms featured in Latin American Rhythms for Guitar. Renowned Argentine virtuoso Jorge Morel offers insight in the playing of complex Latin dance rhythms: the milonga, tango, malambo, and baiao -plus a bossa nova tune! Written in standard notation and tablature.
$9.99
9.35 €
#
Guitar notes and tablatures
#
Jorge Morel
#
Classic Guitar Solos on Latin American Rhythms
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Co…
(+)
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888395. Published by jmsgu3 (A0.550930). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.83 €
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J
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Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
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jmsgu3
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SheetMusicPlus
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,…
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
9.36 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Treble Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsich…
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - Digital Download SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00
9.36 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Bass Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549360 Co…
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and individual part. 12 pages. Jmsgu3 #3490109. Published by jmsgu3 (A0.549360). This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano - S0.661867. The convenient 1st & 2nd endings provide an option for extended performance with minimal page turns for the accompanist. The duration with repeat is about 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95
30.83 €
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Bach-Gounod
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Piano - S0
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Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
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jmsgu3
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SheetMusicPlus
Bach: Wachet auf for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.552247 Co…
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554879. Published by jmsgu3 (A0.552247). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
23.34 €
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Johann Sebastian Bach
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Bach: Wachet auf for Oboe d'Amore & Piano
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jmsgu3
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SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549427 Co…
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - Digital Download SKU: A0.549427 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494165. Published by jmsgu3 (A0.549427). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895. Â
$32.95
30.83 €
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Antonin Dvorak
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dynamic control
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DvoÅ™ák: Largo from the New World Symphony for Oboe d'Amore & Piano
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jmsgu3
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SheetMusicPlus
Rhythmix for middle school concert band (SCORE AND PARTS)
Concert band
Concert Band - Level 1 - Digital Download SKU: A0.782642 Composed by Ashlee T Busch…
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Concert Band - Level 1 - Digital Download SKU: A0.782642 Composed by Ashlee T Busch. 20th Century,Contemporary,Instructional,New Age. Score and parts. 106 pages. Ashlee T Busch #6491021. Published by Ashlee T Busch (A0.782642). Rhythmix is about rhythm fun for younger band students. Merging grooving patterns and teachable moments in a somewhat polyrhythmic structure, Rhythmix was designed to introduce students to complex metrical structures early in the development of their musicianship. In my music, I always strive to provide both the ensemble and conductor with energetic and invigorating musical experiences while simultaneously employing enough complexity to challenge students and creating opportunities for conductors to improve students’ musicianship and understanding.Both the score and parts are included in this selection.Find out more about the composer, Ashlee T Busch, here: http://ashleebusch.com
$45.00
42.1 €
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Concert band
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Ashlee T Busch
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Rhythmix for middle school concert band
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Ashlee T Busch
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SheetMusicPlus
Baltimore Rowhouse
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.979671 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.979671 Composed by Roger Aldridge. CSIC Library Series. Contemporary,Jazz,Rock. Score and parts. 17 pages. Roger Aldridge #1989671. Published by Roger Aldridge (A0.979671). Baltimore Rowhouse (for jazz soloist, 5 wind instruments, and rhythm section) is an extended piece with dramatic changes in mood and style. It begins as a ballad featuring alto sax, suddenly shifts to rock-fusion guitar, and finally has a film noir flavor. Serial techniques are used in subtle ways throughout the score and provide compositional structure. The piece strikes a balance between notation and improvisational freedom for both the soloists and the ensemble musicians. The score was originally conceived for woodwind quintet (with alto flute). Alternate parts are provided for an assortment of commonly-used wind instruments. In this way, the piece can be performed by many combinations of instruments. As another possibility, two (or more) musicians can be used on each wind instrument part. This option of having doubled parts -- with either same or different instruments on a part -- is an easy way for larger ensembles to perform this music. PARTS: The set of parts are available at BALTIMORE ROWHOUSE PARTS (S0.84817). CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ VIDEO: https://youtu.be/XlpIyVoJHkc DURATION: around 5:00 YEAR OF RELEASE: 2011 PERFORMANCE: The score is concert pitch and uses flexible instrumentation. Note: As a performance option, omit the into and start with the soloist's triplet pickups in measure 8. ENSEMBLE CONCEPTS: http://www.rogeraldridge.com/mid-size-ensemble.html.
$10.00
9.36 €
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Jazz Ensemble
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Roger Aldridge
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Baltimore Rowhouse
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Roger Aldridge
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SheetMusicPlus
'La Morena Cubana'
Clarinet Quartet: 4 clarinets
Clarinet Quartet,Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1…
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Clarinet Quartet,Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1384271 Composed by Joaquin Malats. Arranged by Stephen Davies. 20th Century,Chamber,Folk,Jazz,Latin. 34 pages. Stephen Davies #968582. Published by Stephen Davies (A0.1384271). Joaquin Malats was a much admired pianist and composer in his day, hailing from Barcelona, and was especially feted by the great Albeniz. This lesser known piece is wonderfully rhythmic and enjoyable to play. I have also added a small Latin Rhythm Section, just to add to the fun!
$15.99
14.96 €
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Clarinet Quartet: 4 clarinets
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Joaquin Malats
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'La Morena Cubana'
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Stephen Davies
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SheetMusicPlus
La Morena Cubana for Saxophone Quartet and Latin Percussion.!!
Saxophone Quartet: 4 saxophones
Small Ensemble Alto Saxophone,Baritone Saxophone,Percussion,Soprano Saxophone,Tenor Saxoph…
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Small Ensemble Alto Saxophone,Baritone Saxophone,Percussion,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.891933 Composed by Joaquin Malats. Arranged by Stephen Davies. Jazz,Standards. Score and parts. 35 pages. Stephen Davies #4323223. Published by Stephen Davies (A0.891933). Joaquin Malats was a much admired pianist and composer in his day, hailing from Barcelona, and was especially feted by the great Albeniz. This lesser known piece is wonderfully rhythmic and enjoyable to play. I have also added a small Latin Rhythm Section, just to add to the fun!
$24.99
23.38 €
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Saxophone Quartet: 4 saxophones
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Joaquin Malats
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La Morena Cubana for Saxophone Quartet and Latin Percussion.!!
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Stephen Davies
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SheetMusicPlus
More Than Amazing - Rhythm
Digital Download SKU: HX.193548 Composed by Lincoln Brewster and Mia Fieldes. Arran…
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Digital Download SKU: HX.193548 Composed by Lincoln Brewster and Mia Fieldes. Arranged by Richard Kingsmore. Christian,Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental Pak. 5 pages. Duration 310. Hal Leonard - Digital #212282. Published by Hal Leonard - Digital (HX.193548).
$7.00
6.55 €
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Lincoln Brewster and Mia Fieldes
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More Than Amazing - Rhythm
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Hal Leonard - Digital
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SheetMusicPlus
Rock Rhythms for Guitar
Guitar - Beginning - Digital Download SKU: M0.96535MEB Composed by Mike Christianse…
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Guitar - Beginning - Digital Download SKU: M0.96535MEB Composed by Mike Christiansen. Rhythm and Chords. E-book and online audio. Mel Bay Publications - Digital Sheet Music #96535MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.96535MEB). ISBN 9781619115064. 8.75x11.75 inches.Basics and more for the rhythm guitarist. Includes instruction in: strum patterns, bass notes, power chords and scales, barre chords, blues-rock comping, arpeggio accompaniment, doubling the bass line, single-string rhythms, and more. The book comes with an online audio recording. Includes access to online audio.
$14.99
14.03 €
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Mike Christiansen
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Rock Rhythms for Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
On My Lips - Rhythm
Digital Download SKU: HX.127338 Composed by Darren Morehouse and Ross Parsley. Arra…
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Digital Download SKU: HX.127338 Composed by Darren Morehouse and Ross Parsley. Arranged by Richard Kingsmore. Concert,Contemporary,Sacred. Choral Instrumental Pak. 4 pages. Duration 245. Hal Leonard - Digital #140054. Published by Hal Leonard - Digital (HX.127338).
$7.00
6.55 €
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Darren Morehouse and Ross Parsley
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On My Lips - Rhythm
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Hal Leonard - Digital
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SheetMusicPlus
Amore, (Italian for Love), Flute and Trumpet Duet
Flute, Trumpet (duet)
Instrumental Duet Flute,Instrumental Duet,Trumpet - Level 4 - Digital Download SKU: A0.…
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Instrumental Duet Flute,Instrumental Duet,Trumpet - Level 4 - Digital Download SKU: A0.590730 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234339. Published by David McKeown (A0.590730). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Flute and one Trumpet, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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Flute, Trumpet (duet)
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Amore, (Italian for Love), Clarinet and Trumpet Duet
Clarinet, Trumpet (duet)
Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 4 - Digital Download SKU: …
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Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 4 - Digital Download SKU: A0.590723 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234325. Published by David McKeown (A0.590723). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Clarinet and one Trumpet, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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Clarinet, Trumpet (duet)
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Amore, (Italian for Love), Clarinet and Violin Duet
Clarinet, Violin (duet)
Instrumental Duet Clarinet,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A…
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Instrumental Duet Clarinet,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.590758 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234395. Published by David McKeown (A0.590758). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Clarinet and one Violin, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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Clarinet, Violin (duet)
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Amore, (Italian for Love), Clarinet and Viola Duet
Clarinet and Viola
Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 4 - Digital Download SKU: A0…
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Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 4 - Digital Download SKU: A0.590724 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234327. Published by David McKeown (A0.590724). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Clarinet and one Viola, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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Clarinet and Viola
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Amore, (Italian for Love), Flute and Violin Duet
Flute, Violin
Instrumental Duet Flute,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.5…
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Instrumental Duet Flute,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.590731 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234341. Published by David McKeown (A0.590731). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Flute and one Violin, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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Flute, Violin
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Amore, (Italian for Love), Violin Duet
2 Violins (duet)
Violin Duet Violin - Level 4 - Digital Download SKU: A0.590757 Composed by David Mc…
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Violin Duet Violin - Level 4 - Digital Download SKU: A0.590757 Composed by David McKeown. Holiday,Opera,Romantic Period,Wedding. 5 pages. David McKeown #6234393. Published by David McKeown (A0.590757). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for two Violins, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
3.73 €
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2 Violins (duet)
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
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