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Ten Studies for Trombone
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.792139 Composed by Johannes Brah…
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Trombone Solo - Level 3 - Digital Download SKU: A0.792139 Composed by Johannes Brahms. Arranged by Cherry, Gordon. Instructional,Romantic Period. Individual part. 12 pages. Gordon Cherry #3667999. Published by Gordon Cherry (A0.792139). The Brahms Ten Studies were originally written for Horn or Trumpet and were first published soon after his death in 1897. Unfortunately there is not much written about the origins of the Studies. There are questions as to whether they are original or manufactured by an enterprising musician. In my opinion, a few of the studies, especially the slower ones have the stamp of the Master on them. Mr. Cherry believes that the Studies are authentic. It is fairly certain that Brahms’s father did play some horn and there is a good chance that Johannes performed in a horn club as well. The Studies were all originally written in the key of C treble clef. Mr. Cherry has taken the liberty to transpose many of them into different keys for musical variety and technique. This is a common practice for many Trumpet and Horn study books. He has also added some breath marks and alternate slide positions. Many thanks to friend & colleague, Ralph Sauer, who helped with the editing of these studies. These studies are all in bass clef and appropriate for performers of intermediate level and higher.
$10.00
9.18 €
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Trombone
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Johannes Brahms
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Ten Studies for Trombone
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Gordon Cherry
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SheetMusicPlus
Together We Can Change the World
Choral SSAA
Choral Choir,Choral (SSAA) - Level 2 - Digital Download SKU: A0.1353397 Composed by…
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Choral Choir,Choral (SSAA) - Level 2 - Digital Download SKU: A0.1353397 Composed by Lois J Henrickson (Lytingale). Arranged by Lois J Henrickson (Lytingale). Contemporary,Pop. 17 pages. Lytingale Music #938156. Published by Lytingale Music (A0.1353397). Written for SSAA chorus. Theme: empowerment, activism. We are the ones who can fix this world!Accompanied by piano, with optional violin (or flute) partAvailable formats: full score with piano, lead sheet (no piano, for singers), violin part, piano reduction. The mp3 is a rough mix of the parts recordings created for rehearsal (which are available).My community chorus memorizes, so I write with repetition and consistency! Our chorus found this exciting and inspirational to sing. This piece was also chosen to be performed as a mass chorus piece for the national Sister Singers Network Festival 2023 in Cleveland.Lyrics:Movin' and a-shakin' and a-shakin' and a-movin',Movin' and a-shakin' and a-shakin' and a-movin', Movin' and a-shakin' and a-shakin' and a-movin',  Movin' and a-shakin' and a-shakin' and a-movin', Rock on, sisters! Rock on! Awaken the world, sisters. Awakenin', awakenin' the world. Wake up! Awaken the world, sisters. Awakenin', awakenin' the world. We are the ones  Who get things done.We are the ones  Who make it run.We are the ones  Who work together. Together we can change the world. Honor the mothers. Honor the mothers who carried us through, to get us to a world of possibility where we can see how to be more, how to live free. We stand on the shoulders. We stand on the shoulders of women who died, and women who cried out for freedom, for justice, for life. Some of us rock the cradle. Some of us rock the boat. Giving what we are able   to do, to see, to be. Standing on the rock of community.Standing on the rock of community. We're standing on the rock of community.  Makin' a way to grow and live the power,    the power of our own truth. Together we can change the world. Liberty! Together we can change the world. Equality! Together we can change the world. Community! Together we can change the world. Fix this world. There's a whole lot to do.Fix this world. Gonna make it new.Fix this world. It's up to me and you. I witnessed.  Because it needed to be done.I spoke out.  Because it needed to be done. I stood up.   Because it needed to be done. I did what needed, I did what needed, I did what needed to be done.Awaken the world, sisters. Awakenin', awakenin' the world. Wake up! Awaken the world, sisters. Awakenin', awakenin' the world. Wake up! We are the ones  Who get things done.We are the ones  Who make it run.We are the ones  Who work together, Together we can change the world. Movin' and a-shakin' and a-shakin' and a-movin', Together we can change the worldMovin' and a-shakin' and a-shakin' and a-movin', Together we can change the world.Together, Together, Together, Together,Together we can change the world. (2021) Lois J Henrickson (Lytingale).
$1.99
1.83 €
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Choral SSAA
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Lois J Henrickson
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Together We Can Change the World
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Lytingale Music
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SheetMusicPlus
King Of The Road for Classical Brass Quintet
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet - Intermediate - Digital Download By Randy Travis, Roger Miller. Arranged …
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Brass Quintet - Intermediate - Digital Download By Randy Travis, Roger Miller. Arranged by Keith Terrett. Individual Part, Score, Set of Parts. 8 pages. Published by Music for all Occasions
An arrangement of the evergreen top hit song from 1964 ''King of the Road'', set for classical Brass Quintet. "King of the Road" is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a "man of means by no means"), revels in his freedom, describing himself humorously and cynically as the "king of the road". It was Miller's fifth single for Smash Records. The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, "Trailers for sale or rent".[6] This would become the opening line of the song. The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright and Teddy Thompson, Giant Sand, Peligro, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James "The King" Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV.[7] Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, "If there was any justice in the world, Roger Miller should be able to sue for what we did to this song." "King of the Road" was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony. The song is featured in Wim Wenders' 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The recording by The Proclaimers is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is "Roger Miller, King of Plugs". Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground. A send-up version by English entertainer Billy Howard was a British chart hit in 1976. A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.
$14.99
13.76 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Randy Travis, Roger Miller
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King Of The Road for Classical Brass Quintet
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Music for all Occasions
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SheetMusicPlus
The Home Coming March (1908) - Concert Band Score and Parts PDF
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1…
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00
27.55 €
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Concert band
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E
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The Home Coming March
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BJE Music
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SheetMusicPlus
Turkish March by Beethoven for Trombone Quartet
Brass Quartet: 4 trombones
Trombone Quartet - Level 2 - Digital Download SKU: A0.1261707 Composed by Ludwig va…
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Trombone Quartet - Level 2 - Digital Download SKU: A0.1261707 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,Folk,March,Romantic Period. 9 pages. Woods Only, Arrangements #854782. Published by Woods Only, Arrangements (A0.1261707). This arrangement adapted for trombone quartet was written keeping the characteristics of the original work, in order to be performed by young music students who want to enter the symphonic music. Besides, it can also be used by professional musicians for recitals, repertoire, academic presentations and didactic material. The transcription remains faithful to the structure, with only one change in tone, so that it is comfortable for all the instruments in the formation, as well as being used as an activity in ensemble practice among musicians of different traditions. Beethoven's Turkish March (Op. 113) is the 4th movement of the operatic work: The Ruins of Athens, a set of incidental pieces written in 1812 by Ludwig van Beethoven, where the melody was originally written in 1809 as Theme with Six Variations for Piano, Op. 76. The work was written to accompany the play of the same name by August von Kotzebue, for the dedication of a new theater in Pest. Perhaps the best known part of the composition is the Marcia alla turca, In Latin America, this movement became known in Jean-Jacques Perrey's version (who titled it The Elephant never Forgets) since it was used as the opening theme of the successful Mexican TV comedy El Chavo del Ocho. The opening and the turkish march are often performed separately, and the other pieces in this set are not often heard.
$7.99
7.34 €
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Brass Quartet: 4 trombones
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Ludwig van Beethoven
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Turkish March by Beethoven for Trombone Quartet
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Woods Only, Arrangements
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SheetMusicPlus
The Glastry Pearl. Tone Poem Elegy For My Mum.
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00
183.65 €
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Orchestra
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Geraldine
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The Glastry Pearl. Tone Poem Elegy For My Mum.
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Geraldine
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SheetMusicPlus
Moonlight Sonata by Beethoven for Trombone Quartet
Brass Quartet: 4 trombones
Trombone Quartet - Level 3 - Digital Download SKU: A0.1262047 Composed by Ludwig va…
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Trombone Quartet - Level 3 - Digital Download SKU: A0.1262047 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Christmas,Classical,March,Romantic Period. 13 pages. Woods Only, Arrangements #855103. Published by Woods Only, Arrangements (A0.1262047). This arrangement adapted for trombone quartet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$7.99
7.34 €
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Brass Quartet: 4 trombones
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Ludwig van Beethoven
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Moonlight Sonata by Beethoven for Trombone Quartet
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Woods Only, Arrangements
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SheetMusicPlus
Symphony No. 5 by Beethoven for Trombone Duet
2 Trombones (duet)
Trombone Duet Trombone - Level 2 - Digital Download SKU: A0.1265911 Composed by Lud…
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Trombone Duet Trombone - Level 2 - Digital Download SKU: A0.1265911 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,Romantic Period. Score. 8 pages. Woods Only, Arrangements #858655. Published by Woods Only, Arrangements (A0.1265911). Adaptation of Ludwig van Beethoven’s Symphony No. 5 in C minor, Op. 67 for Trombone Duo. Known as the Symphony of Destiny, this work is one of the most popular and well-known in the entire European repertoire. This adaptation retains the original essence but with a reduced duration, presenting only the main themes of the opening. Ideal for beginner instrumental music students who want to experience orchestral music in a simplified form. Can be used by music teachers in ensemble practices, academic recitals, didactic concerts or assessment tests. The four movements are characterized by orchestral homogeneity and alternation: the first movement presents great tension; the second, a solemn funeral march; the third, a vivacity; and the fourth, triumph and magnificence.
$3.99
3.66 €
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2 Trombones (duet)
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Ludwig van Beethoven
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Symphony No. 5 by Beethoven for Trombone Duet
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Woods Only, Arrangements
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
High voice
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
3.21 €
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High voice
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
I Did Not See Temple Spires - an original hymn for SATB voices
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701457 Composed by Kevin G…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701457 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G. Pace #3125371. Published by Kevin G. Pace (A0.701457). An original hymn with text by Kathryn Hales below.YouTube video: https://youtu.be/w68JlvntMjcI did not see the vision, Nor dream a prophet’s dream, I only saw the barren desert Stretch forth upon the scene. I was not there when Brigham’s cane Touched the virgin ground Naming the spot the Lord had shown Where a temple would be found. I did not hear the Lord’s own voice As over ocean waves I tossed, Nor spared the death of loved ones dear As the vast plains I crossed. I only felt the Holy Spirit Telling me the work was true, So I obeyed the prophetic words Until my trek was through. I helped dig the rocky soil Before the foundation was laid Then with shovel filled the gaping hole Before Johnston’s army stayed. I did not see the temple’s spires I only saw the walls, I only shaped the granite stones With hammer, chisel, maul. I coaxed oxen through the mud To move stones down a mountain side, I watched our leaders grow old in years, No temple finished before they died. Now soon I too will join them Though I’ve labored oh so long, I’ll not see the rising spires Or sing praises in Hosanna song. I’m just a common earthly man, A laborer in a cause so great, To generations yet unborn, I’m not one you’ll appreciate. Through the years I’ve toiled and sweat, Shared blood and grief and tears, Obeyed the prophet’s call to serve Listened in faith, not fear. Please do not take for granted As you walk through these carved doors, Or hear the echo of carpenters From stairs or roof or floors The love and work that went into Many years of toil and prayer, Feel our spirits in the halls As you enter there. Though the structure’s end I’ll not see, To others who this path may trod, Go forth with diligence and faith Till we finish the work of God.
$1.99
1.83 €
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Choral SATB
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Kevin G
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I Did Not See Temple Spires - an original hymn for SATB voices
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Kevin G. Pace
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SheetMusicPlus
Tribute to Pioneer Women - an original hymn for SATB voices
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701458 Composed by Kevin G…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701458 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G. Pace #3125373. Published by Kevin G. Pace (A0.701458). An original hymn about pioneer women. See the text by Kathryn Hales below.YouTube video: https://youtu.be/fHirSHGBR0M The women walked alongside the wagons, The burden on oxen to spare, Wrapped in a shawl or a blanket, Their feet often calloused and bare. They met at the quarter-master’s wagon, Their own scant rations to receive, Then with culinary skills prepared A meal, a family’s hunger to relieve. Their prayers arose like incense From the campfires’ spark-filled glow, That the God they believed in from Heaven Would bless their loved ones below. Left alone to drive the wagons When military duty was the demand, Courageous pioneer women Obeyed the prophet’s commands. Some lived to complete their journey; Some died by the trail on the way, Yet the trials or hardships encountered, Their faith in God did not sway. Whether over the rivers or mountains They trudged onward each day, Till they arrived in The Valley, And prayed for more courage to stay. Praise be to such pioneer women, Who with courage did their part, For the building up of a holy people, With Zion a goal of their hearts. Valiant men have always needed Virtuous women by their sides, So both can progress together And in God’s eternal home abide.
$1.99
1.83 €
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Choral SATB
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Kevin G
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Tribute to Pioneer Women - an original hymn for SATB voices
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Kevin G. Pace
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SheetMusicPlus
Wind Quintet - One Rule
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
32.14 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
9.17 €
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Orchestra
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Thomas Oboe Lee
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Focus on Grace ... A concerto for jazz saxophone and orchestra
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Thomas Oboe Lee
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SheetMusicPlus
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe …
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
9.17 €
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Thomas Oboe Lee
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Focus on Grace ... A concerto for jazz saxophone and orchestra
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Thomas Oboe Lee
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SheetMusicPlus
One Of The Ones Who Did
Drums
Drum Set,Drums - Level 3 - Digital Download SKU: A0.1154308 By Brian McKnight. By B…
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Drum Set,Drums - Level 3 - Digital Download SKU: A0.1154308 By Brian McKnight. By Brian McKnight. Arranged by COPYDRUM. Pop. Score. 2 pages. COPYDRUM #754585. Published by COPYDRUM (A0.1154308).
$5.00
4.59 €
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Drums
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Brian McKnight
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One Of The Ones Who Did
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COPYDRUM
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.03 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Rock - a Roger Jones musical
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.927456 Composed by Roger J…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.927456 Composed by Roger Jones, Alison Fuggle. Arranged by Annie Routley. Christian,Easter,Musical/Show,Praise & Worship,Sacred. Octavo. 98 pages. Christian Music Ministries #6135917. Published by Christian Music Ministries (A0.927456). Rock - a worship musical.Full piano score with SATB choir, solo parts and narration.Starting in Caesarea, Peter's story unfolds in flashback.From fishing, his 3 years on the road alongside Jesus and the disciples, his triumphs and failures. Jesus calls Peter 'the Rock' - but we see that only in Christ, and filled with His Spirit, is Peter on solid ground.Synopsis Traditional words introduce the theme of the Musical: Jesus is our ROCK OF AGES, but the story starts IN CAESAREA BESIDE THE SEA. Here, centurion Cornelius declares I’ve had a vision - but who can explain it, who can help? Cornelius’ household tell of Simon Peter, a disciple of Jesus, and we are taken back to Galilee when Peter, a fisherman, WORKING IN THE FAMILY BUSINESS, hears Jesus’ call to leave your nets and leave your boats. He responds I WILL FOLLOW YOU. For three years Peter follows Jesus, and when challenged declares YOU ARE MESSIAH, the Son of the living God! Jesus replies On this rock I will build my church, then, ominously, points towards Jerusalem. He and his followers eventually arrive in the city at Passover, and during the meal they wonder IN THIS BREAD, IN THIS WINE, is there love for me? At first reluctant, Peter allows Jesus to wash his feet. Events turn against Jesus; he is arrested, and Peter is afraid. The taunt SURELY YOU MUST HAVE BEEN WITH HIM sees Peter denying he ever knew Jesus. Then their eyes meet across the courtyard, and Peter is devastated by his own failure. But even at such an awful time as this, THE LOOK OF LOVE contains acceptance and hope. WERE YOU THERE WHEN THEY CRUCIFIED MY LORD? Peter wasn’t - he was in hiding along with many of the disciples. But after the resurrection, Jesus greets Peter and the others in Galilee: THIS IS THE PLACE – I am the Lord who comes to meet you here. Jesus asks: SIMON PETER, DO YOU LOVE ME? After being asked three times Peter reaches reality: Lord, you know everything … you know how much I love you! and receives the commission Feed my sheep. Peter and the disciples return to Jerusalem, and wait for the promised Holy Spirit. At Pentecost the Spirit comes, and as A CHOSEN PEOPLE, the followers of Jesus receive his power. Peter preaches, and thousands believe and respond JUST AS I AM … O Lamb of God I come. The Church is born and in the power of the Spirit begin WORKING IN THE FATHER’S BUSINESS, doing the things that Jesus did! Peter eventually arrives IN CAESAREA BESIDE THE SEA. He shares his vision with Cornelius and his household, and declares God has no favourites … you can be saved too … if you believe in Jesus. They believe, receive the power of the Spirit, and Gentiles also become members of the Chosen People, called out of darkness into wonderful light! Peter’s vision is fulfilled – the Gospel is for all who believe in Jesus. Peter declares HE IS THE STONE that the builders rejected … on Jesus the ROCK I will build my life! .
$9.99
9.17 €
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Choral SATB
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Roger Jones, Alison Fuggle
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Rock - a Roger Jones musical
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Christian Music Ministries
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SheetMusicPlus
The Bare Necessities
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson.…
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Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thomas Gunther Music Productions #869433. Published by Thomas Gunther Music Productions (A0.1277927). About the arrangement(See also (PopJazzKeys.com/The-Bare-Necessities)This is a relatively easy to play solo piano jazz arrangement of THE BAR NECESSITIES. The song is a traditional jazz tune made famous in the Walt Disney movie THE JUNGLE BOOK. The video and audio recording I posted here features me playing the short version of my arrangement. When played as written (with all the repeats) it is almost 4 minutes long.What's cool about this arrangement is that you can easily add a bass player and even an entire rhythm section while playing it the same way as you would in a solo performance!Who this arrangement is best suited forI think everyone who likes the song except perhaps advanced jazz pianists will have fun learning and playing this arrangement. I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. That’s why there are no large intervals or big jumps in the left hand. Something generally found in ragtime and early jazz piano styles. This means that my arrangement is perfectly suited for pianists with smaller hands. Of course pianists with large hands (like myself) can play it too (ha-ha!).I think it is also a great piece for pianists who want to familiarize themselves with playing jazz piano. And since I wrote out every note and articulation, they can play along with the recording and hopefully pick up the traditional jazz feel along the way.Although the arrangement is not very difficult, it poses several challenges for the inexperienced pianist, as explained later.How I arranged itAs I already explained above, there are no large intervals or big jumps in the left hand to be found. Instead, I focused more on polyphonic arranging techniques, in both hands. I also used guide tones and inversions.The left hand imitates the accompaniment style of a traditional jazz guitar or banjo player with added half time bass figures that are typically played by a tuba or upright bass an octave lower. Tips for how to learn this arrangementWhen I teach this song to my students I strongly recommend to them to listen to the original version and my recording a lot, rather than explaining to them how swinging eighth notes and jazz articulation work. By the way, there are a few bars where you hear me playing straight eighths on the recording (as indicated in the sheet music). I decided to add articulations so that pianists who have not a lot of experience with playing jazz will find it easier to play it with the appropriate “touchâ€. It's a good idea to check those out.Should you not be familiar with playing polyphonic passages with one hand, you might want to practice very slowly at first and attempt to balance the different voices appropriately. Listening to the recording will also help with discovering dynamic possibilities. I didn’t want to clutter up the sheet music with dynamic markings, so listening to the recording is really the only way to figure out what dynamics I had in mind.
$4.99
4.58 €
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Piano solo
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the way, there are a few bars where you hear me playing straight eighths on the recording
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Terry Gilkyson
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The Bare Necessities
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Thomas Gunther Music Productions
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SheetMusicPlus
United States of America National Anthem for Symphony Orchestra (KT Olympic Anthem Series)
Orchestra
Full Orchestra - Intermediate - Digital Download Composed by John Stafford Smith (30 …
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Full Orchestra - Intermediate - Digital Download Composed by John Stafford Smith (30 March 1750 – 21 September 1836). Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 28 pages. Published by Music for all Occasions
The national anthem of the USA arranged for full orchestra. There are also versions for Brass Quintet & String Orchestra in my stores.<br> <br> <br> "The Star-Spangled Banner" is the national anthem of the United States. The lyrics come from the Defence of Fort M'Henry, a poem written on September 14, 1814, by the then 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory.<br> <br> The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known U.S. patriotic song. With a range of 19 semitones, it is known for being very difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.<br> <br> "The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.<br> <br> Before 1931, other songs served as the hymns of U.S. officialdom. "Hail, Columbia" served this purpose at official functions for most of the 19th century. "My Country, 'Tis of Thee", whose melody is identical to "God Save the Queen", the United Kingdom's national anthem, also served as a de facto national anthem. Following the War of 1812 and subsequent U.S. wars, other songs emerged to compete for popularity at public events, among them "America the Beautiful", which itself was being considered before 1931, as a candidate to become the national anthem of the United States.<br> <br> John Stafford Smith (30 March 1750 – 21 September 1836) was a British composer, church organist, and early musicologist. He was one of the first serious collectors of manuscripts of works by Johann Sebastian Bach.<br> <br> Stafford Smith is best known for writing the music for "The Anacreontic Song", which became the tune for the US patriotic song "The Star-Spangled Banner" following the War of 1812, and in 1931 was adopted as the national anthem of the United States.<br> <br> Love anthems, then join me on twitter, instagram, facebook & soundcloud for updates.
$39.00
35.81 €
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Orchestra
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John Stafford Smith
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United States of America National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Agnus Dei for Soprano Saxophone Duet and Piano
Soprano Saxophone and Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Soprano Saxophone - Level 3 - Digital Down…
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Instrumental Duet,Piano Instrumental Duet,Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.1285744 Composed by Francois Clement Theodore Dubois. Arranged by Lisa Ochoco. 19th Century,Romantic Period. 15 pages. Lisa L Ochoco #876837. Published by Lisa L Ochoco (A0.1285744). Théodore Dubois was a French composer and organist who was well-known in the Paris music scene, due to his position as a professor of harmony at the Paris Conservatoire.  Most of his works were religious ones.  He had hoped for a successful opera career, but that unfortunately did not happen.Agnus Dei was originally a vocal duet with piano, which translates well as an instrumental duet.  I extended the piece to include some key changes to add interest.  Otherwise, the piece remains mostly as the composer wrote it.This arrangement is suitable for musicians with intermediate music skills.Scored for 2 soprano saxophones and piano.Duration: 4.25 minutes.
$12.00
11.02 €
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Soprano Saxophone and Piano
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Francois Clement Theodore Dubois
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Agnus Dei for Soprano Saxophone Duet and Piano
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Lisa L Ochoco
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SheetMusicPlus
Amazing Grace (And Then Some)
Concert band
Concert Band - Digital Download SKU: A0.733028 Composed by Marc Oliver. Arranged by…
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Concert Band - Digital Download SKU: A0.733028 Composed by Marc Oliver. Arranged by Ayotte Custom Musical Engravings. Praise & Worship,Sacred,Spiritual. Score and parts. 42 pages. Ayotte Custom Musical Engravings #2347283. Published by Ayotte Custom Musical Engravings (A0.733028). Almost everybody and his mother on the Planet have written their own arrangements of Amazing Grace so I guess I should not be the exception. Amazing Grace (And Then some) is written for Solo Tuba, accompanied by a wind band. I was inspired to write this chart by a young man named Brandon Jones who lives in the Mobile, Alabama area. He was about 20 years old at the time of this writing (in 2012). He wanted to dedicate it to his father who had died when Brandon was about 4 or 5 years old. My arrangement of Amazing Grace (And Then Some) is not just another theme and variations type of work. Instead, I have interwoven two additional hymns (Praise to the Lord, the Almighty and I Will Sing of My Redeemer) in order to break up the monotony of just the one hymn (hence the subtitle And Then Some) Oh, did I mention that Brandon plays a C tuba that was passed down from his father?
$49.99
45.9 €
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Concert band
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Marc Oliver
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Amazing Grace
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Ayotte Custom Musical Engravings
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SheetMusicPlus
King Of The Road
Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.747086 By Randy Tr…
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Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.747086 By Randy Travis. By Roger Miller. Arranged by Keith Terrett. Contemporary. 27 pages. Keith Terrett #6426723. Published by Keith Terrett (A0.747086). An arrangement of the classic King of the Road for Wind Dectet.King of the Road is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a man of means by no means), revels in his freedom, describing himself humorously and cynically as the king of the road. It was Miller's fifth single for Smash Records. The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, Trailers for sale or rent. This would become the opening line of the song.The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright & Teddy Thompson, Giant Sand, Peligro, John Williamson (singer) & Adam Harvey, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James The King Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV. Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, If there was any justice in the world, Roger Miller should be able to sue for what we did to this song.King of the Road was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.The song appears in Wim Wenders's 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The Proclaimers' version is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is Roger Miller, King of Plugs.Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.A send-up version by English entertainer Billy Howard was a British chart hit in 1976.A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.
$16.99
15.6 €
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Randy Travis
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English title
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King Of The Road
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Keith Terrett
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SheetMusicPlus
VOCALIZZI: Concone Panofka Seidler Tosti - volume 1
Choral SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.934266 Composed by Concone…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.934266 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 165 pages. Antonio Cericola #6329505. Published by Antonio Cericola (A0.934266). I migliori e più belli vocalizzi, lezioni e solfeggi cantati tratti dalle opere storiche più importanti della didattica del belcanto internazionale. Unica nel panorama editoriale e didattico, questa edizione annovera tutti i vocalizzi trasportati per tutte le estensioni vocali in tre tonalità diverse. Questa comodità sarà senz’altro utile non solo ai pianisti accompagnatori (che avranno a portata di mano la stessa composizione già trasposta), ma anche agli insegnanti. Gli allievi più illuminati e musicalmente più evoluti, inoltre, potrebbero esercitare la stessa lezione in tonalità diverse per fini didattici e musicali. Una chiarissima impaginazione e formattazione musicale contraddistingue questa edizione da tutte le altre esistenti. La raccolta si articola in due volumi.Questi vocalizzi del primo volume: 1 - G. Concone - Op. 9 n° 1 § 2 - G. Concone - Op. 9 n° 2 § 3 - G. Concone - Op. 9 n° 3 § 4 - H. Panofka - Op. 85 n° 2 § 5 - F. P. Tosti - Piccolo solfeggio n° 1 § 6 - G. Concone - Op. 9 n° 4 § 7 - F. P. Tosti - Piccolo solfeggio n° 2 § 8 - G. Concone - Op. 9 n° 5 § 9 - G. Concone - Op. 9 n° 27 § 10 - F. P. Tosti - Piccolo solfeggio n° 5 § 11 - F. P. Tosti - Piccolo solfeggio n° 3 § 12 - G. Seidler - Melodia n° 1 § 13 - H. Panofka - Op. 85 n° 3 § 14 - F. P. Tosti - Piccolo solfeggio n° 4 § 15 - H. Panofka - Op .85 n° 6 § 16 - H. Panofka - Op. 81 n° 9 § 17 - G. Seidler - Melodia n° 3 § 18 - H. Panofka - Op. 81 n° 8 § 19 - G. Concone - Op. 9 n° 6 § 20 - F. P. Tosti - Piccolo solfeggio n° 6 § 21 - F. P. Tosti - Piccolo solfeggio n° 8 § 22 - G. Concone - Op. 9 n° 11. The best and most beautiful vocalizations, lessons and sung solfeggi taken from the most important historical works of the teaching of international bel canto. Unique in the publishing and educational landscape, this edition includes all the vocalizations carried for all the vocal extensions in three different tones. This convenience will certainly be useful not only to accompanying pianists (who will have the same composition already transposed to hand), but also to teachers. Furthermore, the more enlightened and musically advanced students could practice the same lesson in different tones for educational and musical purposes. A very clear layout and musical formatting distinguishes this edition from all the other existing ones. The collection is divided into two volumes: vocalizations present in the first volume: 1 - G. Concone - Op. 9 n° 1 § 2 - G. Concone - Op. 9 n° 2 § 3 - G. Concone - Op. 9 n° 3 § 4 - H. Panofka - Op. 85 n° 2 § 5 - F. P. Tosti - Piccolo solfeggio n° 1 § 6 - G. Concone - Op. 9 n° 4 § 7 - F. P. Tosti - Piccolo solfeggio n° 2 § 8 - G. Concone - Op. 9 n° 5 § 9 - G. Concone - Op. 9 n° 27 § 10 - F. P. Tosti - Piccolo solfeggio n° 5 § 11 - F. P. Tosti - Piccolo solfeggio n° 3 § 12 - G. Seidler - Melodia n° 1 § 13 - H. Panofka - Op. 85 n° 3 § 14 - F. P. Tosti - Piccolo solfeggio n° 4 § 15 - H. Panofka - Op .85 n° 6 § 16 - H. Panofka - Op. 81 n° 9 § 17 - G. Seidler - Melodia n° 3 § 18 - H. Panofka - Op. 81 n° 8 § 19 - G. Concone - Op. 9 n° 6 § 20 - F. P. Tosti - Piccolo solfeggio n° 6 § 21 - F. P. Tosti - Piccolo solfeggio n° 8 § 22 - G. Concone - Op. 9 n° 11.
$14.99
13.76 €
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Choral SATB
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Concone Panofka Seidler Tosti
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VOCALIZZI: Concone Panofka Seidler Tosti - volume 1
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Antonio Cericola
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SheetMusicPlus
Symphony No. 7 by Beethoven for Trombone Quartet
Brass Quartet: 4 trombones
Trombone Quartet - Level 3 - Digital Download SKU: A0.1261845 Composed by Ludwig va…
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Trombone Quartet - Level 3 - Digital Download SKU: A0.1261845 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,Film/TV,March,Romantic Period. 13 pages. Woods Only, Arrangements #854928. Published by Woods Only, Arrangements (A0.1261845). This arrangement adapted for trombone quartet was written keeping the characteristics of the original work, in order to be performed by young music students who want to enter the symphonic music. Besides, it can also be used by professional musicians, for recitals, repertoire, academic presentations and didactic material. As much as it is a funeral march, it is well suited for any musical performance occasion. The transcription is faithful to the structure, with only one change of key, so that it is comfortable for all the instruments in the formation, as well as for use in ensemble practice between musicians of different traditions. Ludwig van Beethoven began concentrated work on his Symphony No. 7 in A major Op. 92 in 1811, it was completed in 1812, and was dedicated to Count Moritz von Fries, and premiered in Vienna on December 8, 1813. It is considered a remarkable example of the more ebullient side of Beethoven's compositional personality and evidence that even after the onset of deafness, he still found cause for musical optimism. The second movement Allegretto is a funeral march in everything but name. Often several contrasting melodic ideas are made to coexist, as if Beethoven were imagining several processions converging on the cemetery at the same time. As he was working on this symphony during the years of the Napoleonic Wars, this experience was probably within his experience. It was also used as the soundtrack to the film Knowing, by director Alex Proyas and starring Nicolas Cage, where it is used in the final scene of the film. Beethoven called Symphony No. 7 his most excellent symphony, and a music critic of the time reported, this symphony is the most melodically rich and the most pleasing and comprehensible of all Beethoven's symphonies..
$7.99
7.34 €
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Brass Quartet: 4 trombones
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Ludwig van Beethoven
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Symphony No. 7 by Beethoven for Trombone Quartet
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Woods Only, Arrangements
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SheetMusicPlus
VOCALIZZI: Concone Panofka Seidler Tosti - volume 2
Choral SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.934264 Composed by Concone…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.934264 Composed by Concone Panofka Seidler Tosti. Arranged by Antonio Cericola. Instructional. Octavo. 162 pages. Antonio Cericola #6328883. Published by Antonio Cericola (A0.934264). I migliori e più belli vocalizzi, lezioni e solfeggi cantati tratti dalle opere storiche più importanti della didattica del belcanto internazionale. Unica nel panorama editoriale e didattico, questa edizione annovera tutti i vocalizzi trasportati per tutte le estensioni vocali in tre tonalità diverse. Questa comodità sarà senz’altro utile non solo ai pianisti accompagnatori (che avranno a portata di mano la stessa composizione già trasposta), ma anche agli insegnanti. Gli allievi più illuminati, inoltre, potrebbero esercitare la stessa lezione in tonalità diverse per fini didattici e musicali. Una chiarissima impaginazione e formattazione musicale contraddistingue questa edizione da tutte le altre esistenti. La raccolta si articola in due volumi.Vocalizzi presenti nel primo volume: 1 H. Panofka Op 85 n 1 § 2 H. Panofka Op 81 n 13 § 3 F. P. Tosti Piccolo solfeggio n 12 § 4 G. Seidler Melodia n 4 § 5 H. Panofka Op 85 n 4 § 6 H. Panofka Op 85 n 10 § 7 H. Panofka Op 85 n 11 § 8 H. Panofka Op 85 n 12 § 9 H. Panofka Op 85 n 13 § 10 H. Panofka Op 85 n 14 § 11 H. Panofka Op 85 n 24 § 12 H.The best and most beautiful vocalizations, lessons and sung solfeggi taken from the most important historical works of the teaching of international bel canto. Unique in the publishing and educational landscape, this edition includes all the vocalizations carried for all the vocal extensions in three different tones. This convenience will certainly be useful not only to accompanying pianists (who will have the same composition already transposed to hand), but also to teachers. Furthermore, the more enlightened students could practice the same lesson in different tones for educational and musical purposes. A very clear layout and musical formatting distinguishes this edition from all the other existing ones. The collection is divided into two volumes: vocalizations present in the first volume: 1 H. Panofka Op 85 n 1 § 2 H. Panofka Op 81 n 13 § 3 FP Tosti Piccolo solfeggio n 12 § 4 G. Seidler Melody n 4 § 5 H . Panofka Op 85 n 4 § 6 H. Panofka Op 85 n 10 § 7 H. Panofka Op 85 n 11 § 8 H. Panofka Op 85 n 12 § 9 H. Panofka Op 85 n 13 § 10 H. Panofka Op 85 n 14 § 11 H. Panofka Op 85 n 24 § 12 H. Panofka Op 81 n 14 § 13 H. Panofka Op 85 n 8 § 14 H. Panofka Op 85 n 16 § 15 H. Panofka Op 85 n 9 § 16 H. Panofka Op 81 n 17 § 17 H. Panofka Op 81 n 1. Panofka Op 81 n 14 § 13 H. Panofka Op 85 n 8 § 14 H. Panofka Op 85 n 16 § 15 H. Panofka Op 85 n 9 § 16 H. Panofka Op 81 n 17 § 17 H. Panofka Op 81 n 1.
$14.99
13.76 €
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Choral SATB
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Concone Panofka Seidler Tosti
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VOCALIZZI: Concone Panofka Seidler Tosti - volume 2
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Antonio Cericola
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SheetMusicPlus
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