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No Way Out (Beginner Solo with Teacher Duet) #1 Piano, 4 hands #BEGINNER #Halloween #Jennifer Eklund #No Way Out #Jennifer Eklund #SheetMusicPlus

1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.1497641 By Jennifer Eklund. By Jennifer Eklund. Halloween. Score. 5 pages. Jennifer Eklun...(+)

$5.99

No Way Out #Piano, Voice #Contemporary #Ina Wolf and Peter Wolf #Biegler #No Way Out #Biegler #SheetMusicPlus

Piano,Vocal,Voice - Digital Download SKU: A0.507584 Composed by Ina Wolf and Peter Wolf. Arranged by Biegler. Contemporary. Score. 5 pages. Biegler #4854...(+)

$4.99

No Way Out (she Doesn't Buy My Story) #Piano, Voice #Rock #Starship #Biegler #No Way Out #Biegler #SheetMusicPlus

Piano,Vocal,Voice - Digital Download SKU: A0.1207933 By Starship. By Ina Wolf and Peter F Wolf. Arranged by Biegler. Pop,Rock. Score. 5 pages. Biegler #8...(+)

$4.99

Edwin Culver: a bridge a-way, exits within (for solo guitar) #Guitar #INTERMEDIATE #Contemporary #Edwin Culver #Edwin Culver: a bridge a-way, #Edwin Culver #SheetMusicPlus

Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #434...(+)

$11.99

String Quartet No. 3 "Old-Time" (violin 1 part - two vlns, vla, cel) #String Quartet: 2 violins, viola, cello #ADVANCED #Mark Oâ€™Connor

#Mark O'Connor #String Quartet No. 3 "Old-Time #Mark O'Connor Musik International #SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861789 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score an...(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861789 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 34 pages. Mark O'Connor Musik International #6201731. Published by Mark O'Connor Musik International (A0.861789). String Quartet No. 3 Old-Time (Score â€“ two vlns, vla, cel) MO169BViolin 1 Part (score and parts available)Music by Mark Oâ€™Connor30 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600â€™s, and eventually traveled down the Appalachians to settle in the South in the early 1800â€™s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2007 Composed By Mark Oâ€™ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.â€™s 2 & 3 OMAC RecordsRecorded by Mark Oâ€™Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169BCopyright Â© 2007 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$15.00

String Quartet No. 3 "Old-Time" (viola part - two vlns, vla, cel) #String Quartet: 2 violins, viola, cello #ADVANCED #Mark Oâ€™Connor
#Mark O'Connor #String Quartet No. 3 "Old-Time #Mark O'Connor Musik International #SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861790 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score an...(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861790 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 pages. Mark O'Connor Musik International #6201735. Published by Mark O'Connor Musik International (A0.861790). String Quartet No. 3 Old-Time (viola â€“ two vlns, vla, cel) MO169DViola Part (score and parts available)Music by Mark Oâ€™Connor28 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600â€™s, and eventually traveled down the Appalachians to settle in the South in the early 1800â€™s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2007 Composed By Mark Oâ€™ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.â€™s 2 & 3 OMAC RecordsRecorded by Mark Oâ€™Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169DCopyright Â© 2007 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$15.00

String Quartet No. 3 "Old-Time" (cello part - two vlns, vla, cel) #String Quartet: 2 violins, viola, cello #ADVANCED #Mark Oâ€™Connor
#Mark O'Connor #String Quartet No. 3 "Old-Time #Mark O'Connor Musik International #SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861791 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score an...(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861791 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 28 pages. Mark O'Connor Musik International #6201737. Published by Mark O'Connor Musik International (A0.861791). String Quartet No. 3 Old-Time (cello part â€“ two vlns, vla, cel) MO169ECello Part (score and parts available)Music by Mark Oâ€™Connor24 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600â€™s, and eventually traveled down the Appalachians to settle in the South in the early 1800â€™s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2007 Composed By Mark Oâ€™ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.â€™s 2 & 3 OMAC RecordsRecorded by Mark Oâ€™Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169ECopyright Â© 2007 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$15.00

String Quartet No. 3 "Old-Time" (violin 2 part - two vlns, vla, cel) #String Quartet: 2 violins, viola, cello #ADVANCED #Mark Oâ€™Connor
#Mark O'Connor #String Quartet No. 3 "Old-Time #Mark O'Connor Musik International #SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861788 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score an...(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.861788 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 pages. Mark O'Connor Musik International #6201733. Published by Mark O'Connor Musik International (A0.861788). String Quartet No. 3 Old-Time (violin 2 part â€“ two vlns, vla, cel) MO169CViolin 2 Part (score and parts available)Music by Mark Oâ€™Connor28 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600â€™s, and eventually traveled down the Appalachians to settle in the South in the early 1800â€™s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2007 Composed By Mark Oâ€™ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.â€™s 2 & 3 OMAC RecordsRecorded by Mark Oâ€™Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169CCopyright Â© 2007 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$15.00

Roll it on Down the Highway (Ahio & Cast) from "The Kings - ACT 2:Song 3 #Low voice, Piano #INTERMEDIATE #McCorkle, Dennis F #Roll it on Down the Highway #DF McCorkle Music and eBook Publications #SheetMusicPlus

Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784829 Composed by McCorkle, Dennis F. Broadway,Christian,Gospel,Musical/Show,Rock. 23 pages. ...(+)

Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784829 Composed by McCorkle, Dennis F. Broadway,Christian,Gospel,Musical/Show,Rock. 23 pages. DF McCorkle Music and eBook Publications #11749. Published by DF McCorkle Music and eBook Publications (A0.784829). ACT TWO: Song 3. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each manâ€™s choices in life. [1 Chronicles 13:1-3 - And David consulted with the captains of thousands and of hundreds, even with every leader. 2 And David said unto all the assembly of Israel: â€˜If it seem good to you, and if it be of Yahweh our God, let us send abroad everywhere unto our brethren that are left in all the land of Israel, and with them to the priests and Levites that are in their cities that have open land about them, that they may gather themselves unto us; 3 and let us bring back the ark of our God to us; for we sought not unto it in the days of Saul.â€™] [1 Chronicles 13:7-10 - And they set the ark of God upon a new cart, and brought it out of the house of Abinadab; and Uzza and Ahio drove the cart. 8 And David and all Israel played before God with all their might; even with songs, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets. 9 And when they came unto the threshing-floor of Chidon, Uzza put forth his hand to hold the ark; for the oxen stumbled. 10 And the anger of Yahweh was kindled against Uzza, and He smote him, because he put forth his hand to the ark; and there he died before God.] Realizing the need for a central capital from which to govern, DAVID and the united clans capture the fortress of Zion in Jerusalem. Concerned about the people and solidifying the position, DAVID assembles the commanders and leaders of the people to discuss the possibility of relocating the Ark of the Covenant from the house of Abinadab in Kiriath-jearim, where it had been stored for seventy years, to Jerusalem. DAVID orders a new cart be made for its transport, disregarding the directives from God that only permitted the Levites to move the Ark and only carried with the poles on their shoulders [Role it on Down the Highway â€“ Ahio and Davidâ€™s Troops]. When the Ark reaches the threshing-floor at Nacon, the oxen stumble and Uzzah puts his hand out to steady it and is instantly killed. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.

$2.99
String Quartet No. 2: Child's Play #String Quartet: 2 violins, viola, cello #ADVANCED #Contemporary #Robert M #String Quartet No. 2: Child's #Robert M. Greenberg #SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robe...(+)

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987857 Composed by Robert M. Greenberg. 20th Century. Score and parts. 121 pages. Robert M. Greenberg #115423. Published by Robert M. Greenberg (A0.987857). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1988 Program Note: !. Games (fast) II. Intermezzo: Dreams of Gold (slow) III. Dances (very fast) Child's Play was completed in August, 1988. In no way does the title refer to the technical demands of the piece, which are considerable. Rather, it refers to the endlessly imaginative, energized, and constantly changing play that might be engaged in by four different, though like-minded children. Indeed, the inspiration for the quartet was my then two-year-old daughter Rachel, whose boundless energy and capacity for play I found (and still find) rather terrifying. Child's Play consists of three movements: Games (fast), Intermezzo: Sogni d'Oro (Dreams of Gold) (slow), and Dances (very fast). In Games, four energetic and well-rested players leap out of the starting blocks together and engage in sport of various kinds: running games, chasing games, teasing games, tag, echo games (Simon Says), races, and so forth, eventually returning to the unison from which they began. Intermezzo: Sogni d'Oro (Dreams of Gold) offers a quiet, episodic, dreamlike respite from the frenetic mood of Games. In Dances, the energized character of the first movement resumes, only faster. Dances is a perpetual motion movement in three parts, with a slower, more fragmented middle section sandwiched between a boisterous and frenzied dance of life. This movement ends much in the same way as the first movement began, bringing the circuit of the piece to a close. Child's Play was commissioned by, and is dedicated, with many thanks and great appreciation, to the Alexander String Quartet.

$36.00
No Crown Without the Cross #Piano, Voice #J #No Crown Without the Cross #Johns Hopkins University Sheridan Libraries #SheetMusicPlus

Piano and voice - Digital Download SKU: LV.3746 Composed by J.R. Thomas. Flowers, Comfort, Religion. Lester S. Levy Collection. 4 pages. Published by Joh...(+)

Piano and voice - Digital Download SKU: LV.3746 Composed by J.R. Thomas. Flowers, Comfort, Religion. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3746). No Crown Without the Cross. Words by Geo. Cooper. Music by J.R. Thomas. Published 1869 by John L. Peters in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Flowers, Comfort, Religion. First line reads When wand'ring feet have weary grown, and clouds make dim our way.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

$5.99
Claude Debussy â€’ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans #Orchestra #Classical #Claude Debussy #Arkady Leytush #Claude Debussy â€’ Estamp #Arkady Leytush #SheetMusicPlus

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...(+)

Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

$25.00
Claude Debussy â€’ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas #Orchestra #Classical #Claude Debussy #Arkady Leytush #Claude Debussy â€’ Estamp #Arkady Leytush #SheetMusicPlus

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...(+)

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. Th.

$25.00
Claude Debussy â€’ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la #Orchestra #Classical #Claude Debussy #Arkady Leytush #Claude Debussy â€’ Estamp #Arkady Leytush #SheetMusicPlus

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...(+)

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo ViÃ±es, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussyâ€™s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussyâ€™s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

$25.00
It's a Long Lane That Has No Turning #Piano, Voice #Manuel Klein #It's a Long Lane That Has No T #Johns Hopkins University Sheridan Libraries #SheetMusicPlus

Piano and voice - Digital Download SKU: LV.18850 Composed by Manuel Klein. Globes, Railroads, Automobiles, Airplane, Steamboats, Sailboats, Courtship & l...(+)

Piano and voice - Digital Download SKU: LV.18850 Composed by Manuel Klein. Globes, Railroads, Automobiles, Airplane, Steamboats, Sailboats, Courtship & love. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18850). It's a Long Lane That Has No Turning. Book by Arthur Voegtlin & Carrol Fleming. Lyrics & Music by Manuel Klein. Published 1911 by M. Witmark & Sons in Chicago. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Globes, Railroads, Automobiles, Airplane, Steamboats, Sailboats, Courtship & love. First line reads For years I have always wanted to meet a little girl like you, And I knew some happy day goodluck would come my way.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

$5.99
Somewhere Along the Way (Samuel the Prophet) from "The Kings" - ACT 1:Song 7 #Baritone voice, Piano #INTERMEDIATE #McCorkle, Dennis F #Somewhere Along the Way #DF McCorkle Music and eBook Publications #SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.784820 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock...(+)

Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.784820 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11729. Published by DF McCorkle Music and eBook Publications (A0.784820). ACT ONE: Song 7 The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each manâ€™s choices in life. [1 Samuel 10:18-19â€¦ - And he said to the children of Israel: Thus says Yahweh, the God of Israel: â€˜I brought up Israel out of Egypt, and I delivered you out of the hand of the Egyptians, and out of the hand of all the kingdoms that oppressed you.â€™ 19 But you have this day rejected your God, who Himself saves you out of all your calamities and your distresses; and you have said unto Him: Nay, but set a king over usâ€¦] [1 Samuel 12:24-25 - Only fear Yahweh, and serve him in truth with all your heart; for consider how great things he hath done for you. But if you shall still do wickedly, you shall be consumed, both you and your king.] SAMUEL warns Saul and the people that if they follow God all will go well for them. If they do not, there will be severe repercussions [Somewhere Along the Way â€“ Samuel]. As SAMUEL walks off, thunder and lightning start and the people scatter. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.

$2.99
When There's No End In Sight #Piano, Voice #INTERMEDIATE #Gospel/Spiritual #Sacred music #Bobby Mullins #When There's No End In Sight #Bobby Mullins #SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.995206 Composed by Bobby Mullins. Christian,Gospel. Score. 6 pages. Bobby Mullins #4611357. Publis...(+)

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.995206 Composed by Bobby Mullins. Christian,Gospel. Score. 6 pages. Bobby Mullins #4611357. Published by Bobby Mullins (A0.995206). Everyone experiences trials and difficulties and sometimes don't see a way out, feeling there's no end in sight. But, when there's no end in sight the Lord is there.

$4.99
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel) #Mark O'Connor #Johnny Cash #Piano Trio No. 1 "Poets and Pr #Mark O'Connor Musik International #SheetMusicPlus

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pag...(+)

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score â€“ piano, vln, cel) MO160APiano Score (parts available)Music by Mark Oâ€™Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, Iâ€™m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark Oâ€™Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. Oâ€™Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadnâ€™t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2003 Composed by Mark Oâ€™ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark Oâ€™Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A

$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel) #Mark O'Connor #Johnny Cash #Piano Trio No. 1 "Poets and Pr #Mark O'Connor Musik International #SheetMusicPlus

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pag...(+)

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part â€“ piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark Oâ€™Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, Iâ€™m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark Oâ€™Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. Oâ€™Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadnâ€™t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2003 Composed by Mark Oâ€™ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark Oâ€™Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.

$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel) #Mark O'Connor #Johnny Cash #Piano Trio No. 1 "Poets and Pr #Mark O'Connor Musik International #SheetMusicPlus

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pag...(+)

Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part â€“ piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark Oâ€™Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, Iâ€™m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark Oâ€™Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. Oâ€™Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadnâ€™t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 2003 Composed by Mark Oâ€™ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark Oâ€™Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.

$15.00
Come Chace That Starting Tear Away #Piano, Voice #Henry Bishop #Come Chace That Starting Tear #Johns Hopkins University Sheridan Libraries #SheetMusicPlus

Piano and voice - Digital Download SKU: LV.1041 Arranged by Henry Bishop. Happiness, Celebrations. Lester S. Levy Collection. 2 pages. Published by Johns...(+)

Piano and voice - Digital Download SKU: LV.1041 Arranged by Henry Bishop. Happiness, Celebrations. Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.1041). Come Chace That Starting Tear Away. From Moore's National Airs. No. 14. Arranged by Henry R. Bishop. Published [n.d.] by G.E. Blake at his Piano Forte and Music store, No. 13 South 5th Street in Philadelphia. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Happiness, Celebrations. First line reads Come, chace that starting tear away, ere mine to meet it springs.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

$5.99
Prelude in C Major, Op. 1, No. 1 #Piano solo #INTERMEDIATE/ADVANCED #Michael Swedberg #Prelude in C Major, Op. 1, No. #Niska Music Publishing #SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1248121 By Michael Swedberg. By Terrence Niska. 21st Century,Classical. Score. 8 pages. Niska Music Publi...(+)

Piano Solo - Level 4 - Digital Download SKU: A0.1248121 By Michael Swedberg. By Terrence Niska. 21st Century,Classical. Score. 8 pages. Niska Music Publishing #842684. Published by Niska Music Publishing (A0.1248121). This charming little prelude was not actually the first one I wrote for this collection, but rather a replacement for the original which felt out of place with the rest of the pieces. At first glance, it appears to be a study in thirds for the right hand while the left left hand keeps a steady underlying motion, but it is much more than that. There is a feeling of a journey, as though a leaf is floating down a stream. It starts out simple enough, with an air of peace and the image of sunlight on the water. There are moments when the trees block out the sun and the leaf goes in and out of the shimmering reflections, caught in the pull of the current, but nevertheless carried along without any concern as to where it is heading.The music takes on a minor feel as the leaf enters the rapids and is tossed about from whirlpool to whirlpool, nearly being submerged but always finding its way to the surface before finally breaking free and continuing itâ€™s journey with the same sense of tranquility with which it began.

$3.99
There Is No One Else But You. A Waltz Ballad #Samuel Lessing #Samuel Lessing #There Is No One Else But You. #Johns Hopkins University Sheridan Libraries #SheetMusicPlus

Piano and voice; ukulele - Digital Download SKU: LV.17107 Composed by Samuel Lessing. Portraits, Courtship & love, Time, Aged persons. Lester S. Levy Col...(+)

Piano and voice; ukulele - Digital Download SKU: LV.17107 Composed by Samuel Lessing. Portraits, Courtship & love, Time, Aged persons. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.17107). There Is No One Else But You. A Waltz Ballad. Words and Music By Samuel Lessing. Published 1927 by Southern Music Pub. Co., 507 N. Eutaw St. in Baltimore. Composition of strophic with chorus with piano and voice; ukelele instrumentation. Subject headings for this piece include Portraits, Courtship & love, Time, Aged persons. First line reads All my dreams came to an end, My pal has gone far away.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

$5.99
Southland Sketches for Clarinet Quartet #Clarinet Quartet: 4 clarinets #INTERMEDIATE #Henry Harry Thacker Burleigh #Craig Buying #Southland Sketches for Clarine #No Squeak Publishing #SheetMusicPlus

Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.914231 Composed by Henry Harry Thacker Burleigh. Arranged by Craig Buyin...(+)

Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - Digital Download SKU: A0.914231 Composed by Henry Harry Thacker Burleigh. Arranged by Craig Buying. African,Concert,Contemporary,Spiritual,Traditional. 9 pages. No Squeak Publishing #4321957. Published by No Squeak Publishing (A0.914231). Harry Burleigh was an African American composer who often used Southern spiritual music as the influence for his compositions. He studied with Dvorak in New York, and is primarily known for he transcription of slave songs into classical forms. This arrangement of Southland Sketches is the 3rd mvt of his work for violin and piano written in 1916. It features two main sections, and the work is about three and a half minutes. This piece is suitable for mature musicians for programming and can also be performed by younger players. Every instrument gets a share of the melodies, including bass clarinet. While not a technically difficult work (nothing above a high C), playing with the correct inflections, blend, and tone is critical to a great performance. This work is always a crowd pleaser, and is a wonderful gateway into the compositions of a relatively unknown American composer. Wonderful for Patriotic concerts, recitals, retirement homes, and Black History Month.

$4.99

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