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Our First Time in the Sun
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The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.41 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Our First Time in the Sun
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1491826 Composed by Laurent …
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1491826 Composed by Laurent Lemmens. Pop,Singer/Songwriter. Score. 6 pages. Laurent Lemmens #1068508. Published by Laurent Lemmens (A0.1491826). An indie ballad that reflects a couple's journey of becoming parents. Put it on when you have a little time to contemplate hope, doubt and gratefulness.
$5.99
5.49 €
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Piano, Voice
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Laurent Lemmens
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Our First Time in the Sun
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Laurent Lemmens
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SheetMusicPlus
Montenegrin National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin …
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Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin folk song. Arranged by Keith Terrett. 20th Century,Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #5205655. Published by Keith Terrett (A0.746971). The National Anthem of Montenegro arranged for Symphony Orchestra. There are versions for Brass Quintet & String Orchestra in my on-line stores.Oj, svijetla majska zoro (Montenegrin Cyrillic: „Ој, Ñвијетла мајÑка зоро, trans. Oh, Bright Dawn of May) is the official National anthem of Montenegro adopted in 2004. Before becoming the anthem, it was a popular folk song of the Montenegrins, with many variations of its text. The oldest one is dated to the 2nd half of the 19th century, known as Oh, Bright Dawn of Heroism, oh!, a popular Montenegrin folk song.It was played in public for the first time in 1863 in the national theater in Belgrade. It was a component song of the Battle of Grahovo or blood feud in Montenegro (Бој на Грахову или крвна оÑвета у Црној Гори) heroic play in three parts. It is unknown if the text’s authors are also the play’s, namely the following Montenegrin composer/writers: the father of Marko Car Jovan Car and an unknown Obrad Vitković. The play and the Montenegrin folk song was also played/sung in the National Theater again in 1870 and 1876. Its first record in Montenegro itself dates to 1887, when it was included into the regular school program of Montenegrin national songs for pupils in the 3rd grade. It was reconfirmed in the teacher’s plan for Montenegrin schools of 1888, which speculates that it must have been an established folk song for decades by then.Sekule Drljević, party strongman of a minor political party which was active in the Yugoslavian Kingdom in Montenegro known as the Montenegrin Federalist Party, rewrote the text and published it in 1937 in the book of then’s Croatian writer of Montenegrin origins Savić Marković Å tedimlija known as Crvena Hrvatska (Red Croatia), which confounded the thesis not of a Serb ethnic origin of the Montenegrins, which was the dominant one back then, but rather from the Croats. Its name was Eternal Ours… (VjeÄna naÅ¡a). When Nikola Hercigonja wrote down Oh, Bright Dawn of May shortly after WWII ended after 1945, he erroneously concluded that Drljević was the original wholesale author of this song, which also led to its considerable decline in popularity as a Montenegrin folk song altogether.The song survived until today under various names as a popular Montenegrin folk song under the name Oh, Bright Dawn of May (Oj svijetla majska zoro). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official anthem, however, on which there was no consensus because of the disputed melodic value.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com Love national anthems, then join me on twitter, facebook, instagram & soundcloud for frequent updates on my Olympic anthems!
$36.00
32.98 €
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Orchestra
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Montenegrin folk song
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Montenegrin National Anthem for Symphony Orchestra
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Keith Terrett
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SheetMusicPlus
Tropical Cafe - at the Resort for Sxophone Quartet (optional Piano & Percussion)
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Te…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1477423 Composed by Mari Miura. Arranged by Katsuo Mizushina. Classical,Contest,Festival. 79 pages. FOSTERMUSIC.JP Digital Publishing #1054001. Published by FOSTERMUSIC.JP Digital Publishing (A0.1477423). Tropical Cafe - at the Resort This piece is originally in a flute duet and piano version, arranged by Katsuo Mizushina for saxophone quartet.The suite is inspired by a story in a café at a resort, but can also be performed as excerpts.We would also be happy if the performers could freely enjoy the piece by adding piano and percussion instruments for optional parts and ad-libbing.Please imagine your favorite café and play it. (Mari Miura)Click here for piano accompaniment sound files.A clear blue sky.Reflected in a sea of sapphire.Waves lapping on the dazzling white of the beach glimmer in the sunlight.The Tropical Cafe, a charming building full of tourists on the shore.It has a mysterious power that transports you into the world of whatever you order.Word of its power soon spread, and now business is booming.But who will visit today? I.Bossa Nova on the Beach Today’s first customers are a group of girls who came to the beach for a holiday.“We need something to match our excitement!”“What could capture the radiance of the sun reflecting on the beach?”They’re having the time of their lives as they decide what to order.“This would be perfect!”One of the girls points out the Beach Bossa Nova. II.Anniversary Waltz At high noon, an elderly couple walks in.“Today is our wedding anniversary.”“We always talked about returning to this beach after we got married here, but we never got round to it.”“Until today!”The sun shining. Seagulls soaring across the sky. Waves gently lapping the shoreline.It was exactly as they’d remembered.Just like the waltz they danced at their wedding, they order the Anniversary Waltz. III.Songs of Nostalgia As the sun begins to set in the west, a customer dressed in unfamiliar clothes enters the cafe.“I wonder where this sea leads to.”The sun shines on half of his face, casting a long shadow.Thinking of his hometown, he gazes at the menu. His eyes tinged with sorrow, he comes across the Song of Nostalgia. IV.Happy Samba Flaming torches are lit as the sun falls beyond the horizon.When you feel a little lonesome as an exciting day draws to a close, treat yourself to the cafe’s most uplifting item.The Happy Samba!May tomorrow be filled with happiness.Click here for other works by Mari Miura.
$49.99
45.8 €
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Saxophone Quartet: 4 saxophones
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Mari Miura
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Tropical Cafe - at the Resort for Sxophone Quartet
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FOSTERMUSIC.JP Digital Publishing
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SheetMusicPlus
In My Room
Choral TTBB
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. …
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys. This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.
$1.99
1.82 €
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Choral TTBB
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The Beach Boys
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In My Room
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Donald A Mills
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SheetMusicPlus
The Sundials: I;Tempus Edax Rerum (Time devours things)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phillips #3510879. Published by Matthew Scott Phillips (A0.1004148). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.83 €
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Matthew Scott Phillips
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The Sundials: I;Tempus Edax Rerum
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
String Trio: violin, viola, cello
String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew …
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String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.83 €
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String Trio: violin, viola, cello
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Matthew Scott Phillips
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The Sundials: II; Pereunt et Imputantur
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: III; Tempus Fugit Velut Umbra (Time flees like a shadow)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phillips #3510887. Published by Matthew Scott Phillips (A0.1004151). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.83 €
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Matthew Scott Phillips
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The Sundials: III; Tempus Fugit Velut Umbra
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Matthew Scott Phillips
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SheetMusicPlus
The Four Seasons in the Basque Country
Concert band
Concert Band - Digital Download SKU: A0.917412 Composed by Gregory Fritze. 20th Cen…
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Concert Band - Digital Download SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida
$100.00
91.62 €
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Concert band
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Gregory Fritze
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The Four Seasons in the Basque Country
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Musica Nova USA
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SheetMusicPlus
And They Were Friends From That Day On
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1495488 By Damien Gauci. By Damien …
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Piano Solo - Level 4 - Digital Download SKU: A0.1495488 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 7 pages. Damien Gauci #1072005. Published by Damien Gauci (A0.1495488). Whiskers and Pippin had left the abandoned house behind, but they carried with them something far more valuable than anything they could have found within its dusty walls—a new friendship. As they journeyed through the woods, they discovered that they had more in common than just their fur colour. Their shared curiosity led them to explore new paths, while their cautious natures kept them safe from danger. Every rustle of the leaves, every flicker of movement in the underbrush, became an adventure when they were together.Day after day, Whiskers and Pippin would meet at the edge of the forest, eager to explore each other’s favourite spots. Whether it was a hidden grove full of the sweetest acorns or a quiet stream perfect for reflection, they found joy in sharing these special places with each other. The once lonely woods now felt alive with the warmth of their companionship. They would chase each other up trees, playfully darting between branches, and when the day grew late, they would sit side by side, watching the sun dip below the horizon.The fear and hesitation that once filled their first encounter was now just a distant memory. In its place was a deep bond, forged through shared experiences and a mutual understanding. Whiskers and Pippin might have been cautious, but together, they found the courage to explore a world that felt much less daunting with a friend by their side. And so, from that day on, they were inseparable—two squirrels who had found in each other a lifelong companion, proving that sometimes, the best adventures begin when you least expect them.
$6.00
5.5 €
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Piano solo
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Damien Gauci
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And They Were Friends From That Day On
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Damien Gauci
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SheetMusicPlus
Finnish National Anthem for String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik P…
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String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Praise & Worship,Traditional,World. 8 pages. Keith Terrett #811977. Published by Keith Terrett (A0.1511019). An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.Maamme (Finnish: [ˈmɑːmːe]) or Vårt land (Finland Swedish: [ˈvoːrt ˈlɑnːd]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min izāmō (My Fatherland).The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme Love anthems, then join me on twitter, facebook, instagram & soundcloud for updates.
$8.99
8.24 €
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Fredrik Pacius(1809-1891)
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Finnish National Anthem for String Orchestra
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Keith Terrett
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SheetMusicPlus
Southwest Sunrise Trumpet Solo with Piano
Trumpet, Piano
B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.1080679 Composed by Alex …
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B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.1080679 Composed by Alex Lewis and Eddie Lewis. Classical,Multicultural,World. Score and part. 9 pages. Tiger Music #684898. Published by Tiger Music (A0.1080679). Southwest Sunrise Trumpet Solo Eddie Lewis and Alex Lewis MTR P111 4137 Southwest Sunrise is a trumpet solo for beginner trumpet students that has a more complicated piano part. I often get requests for music for students of different skill levels. And in fact, that’s what of my strengths as a writer, is that I can blend parts across skill levels that way. In this case, Alex and I were striving for something that would be interesting for the pianist, but not overly challenging for the beginner trumpet student. The Process The inspiration for this piece came to me on a morning walk in Chandler, Arizona. Chandler is a suburb of Phoenix. I was walking east, into the rising sun. It was a very simple melody. It was a very simple blues melody that I immediately recognized as something that would work in our series for beginner trumpet students. This was during a time when my son, Alex, and I were already collaborating on some other projects. For this piece, I gave Alex the melody and gave him a general description of what I was hearing. Then I gave him his space to create what sounded good to him. The next stage was me editing some of his creativity. At this point we went back and forth on a few issues until we agreed on the final results. SKILL LEVEL The skill level for Southwest Sunrise is Trumpet Pioneer (we don’t have skill levels for piano parts yet on this website). Trumpet Pioner is the first of seven levels in our system. These are absolute beginners who have only been playing the trumpet for a few months. Our Trumpet Pioneer level limits the range to C in the staff. We also limit rhythms to nothing smaller than quarter-notes, and key signatures are limited to one flat or sharp. Practice Recommendations While it is obvious and I don’t normally list it as a point in this practice recommendations, but the rhythms are very different between the trumpet part and the trumpet part. So it is even MORE important to spend time listening to the composition long before you begin practicing it. As I said, this is a good habit for working on all performance pieces. There is research that proves that students learn their music best when they recognize their mistakes soonest. When you listen to the music repeatedly before you practice, it goes a long way towards helping you recognize your mistakes. This is one of the most important reasons for listening, but there are others that I won’t go into here. Assuming the pianist is far more advanced than the trumpeter, the pianist should assume a patient, educational role.
$6.72
6.16 €
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Trumpet, Piano
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Alex Lewis and Eddie Lewis
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Southwest Sunrise Trumpet Solo with Piano
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Tiger Music
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SheetMusicPlus
Alto Sax - "And Can It Be?" Theme and Variations
Alto Saxophone and Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E
$7.00
6.41 €
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Alto Saxophone and Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Alto Sax - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Cello - "And Can It Be?" Theme and Variations
Cello, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles…
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Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
5.5 €
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Cello, Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Cello - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Tuba solo - "And Can It Be?" Theme and Variations
Tuba
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles …
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00
5.5 €
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Tuba
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Tuba solo - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.41 €
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Guitar
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Richard Strauss
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.41 €
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Guitar
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Richard Strauss
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
The Last Time I Saw Paris
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1227903 By 101 String Orchestra. By…
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Piano Solo - Level 5 - Digital Download SKU: A0.1227903 By 101 String Orchestra. By Jerome Kern and Oscar Hammerstein. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 10 pages. Timothy Stapay #823903. Published by Timothy Stapay (A0.1227903). This arrangement of The Last Time I Saw Paris is written as played by piano artist, Liberace. It contains an introduction, by Liberace, using parts of the French song, Clair De Lune by Claude Debussy.The Last Time I Saw Paris is a song composed by Jerome Kern, with lyrics by Oscar Hammerstein II, published in 1940. It was sung in the 1941 film Lady Be Good by Ann Sothern.By December 1940, six versions of the song were on the charts, with Kate Smith having exclusive radio rights for the song for six weeks. The song catered to a wartime nostalgia for songs about European cities following the Second World War Battle of France (which brought Paris under Nazi control), with A Nightingale Sang in Berkeley Square also proving popular.The song won the Academy Award for Best Original Song in 1941. This was Kern's second Academy Award for Best Original Song (following his success with The Way You Look Tonight in 1936), and Hammerstein's first. Władziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics:(Verse)A lady known as ParisRomantic and charmingHas left her old companionsAnd faded from viewLonely men with lonely eyes are seeking her in vainThe streets are where they wereBut there's no sign of herShe has left the Seine(Chorus)The last time I saw ParisHer heart was warm and gayI heard the laughter of her heartIn every street cafeThe last time I saw ParisHеr trees were dressеd for springAnd lovers walked beneath those treesAnd birds had songs to singI dodged the same old taxicabsThat I had dodged for yearsThe chorus of their squeaking hornsWas music to my ears The last time I saw ParisHer heart was warm and gayNo matter how they change herI'll remember her that wayI'll think of happy hoursAnd people who shared themOld women selling flowersIn markets at dawn(Bridge)Children who applauded Punch and Judy in the parkAnd those who danced at night and kept our Paris brightTill the town went dark(Chorus)The last time I saw ParisHer heart was warm and gayI heard the laughter of her heartIn every street cafeThe last time I saw ParisHer trees were dressed for springAnd lovers walked beneath those treesAnd birds had songs to sing I dodged the same old taxicabsThat I had dodged for yearsThe chorus of their squeaking hornsWas music to my earsThe last time I saw ParisHer heart was warm and gayNo matter how they change herI'll remember her that wayI'll think of happy hoursAnd people who shared themOld women selling flowersIn markets at dawn
$8.99
8.24 €
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Piano solo
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101 String Orchestra
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The Last Time I Saw Paris
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Timothy Stapay
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SheetMusicPlus
"The Dog Had..." Variations
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Period. 35 pages. Head and Stem #881172. Published by Head and Stem (A0.1290458). BACKSTORY ON “The Dog Had…†Variations The origin of “The Dog Had…†Variations†stems from a frantic voicemail received from the composer’s mother-in-law many years ago while on a visit exclaiming that our dog at the time, Pepper, a chocolate-brown and white springer spaniel, “HAD†an accident of explosive proportions on their basement rug and that we needed to “GET HOME†and deal with it immediately. At first the family was taken aback by the phone message, but ultimately it became a source of hilarity and shortly afterward, the composer’s wife created a rhyme from the message and a tune immediately sprung from that. This tune simply became something our family sung together periodically over many year’s time for amusement until now when the composer came up with the idea to set it to variations for string quartet. In this work, the tune is first heard in simple fashion in its entirety in the viola. Fragments of the tune follow in various guises. For example, the rhythm of the words “GET HOME†as well as “I’VE HAD IT†are prominent thematic ideas used in the piece. There are also a couple of moments where the music sounds weak and demented, but also places where it sounds like a domestic quarrel and the theme is further broken down into fragments. For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$20.00
18.32 €
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String Quartet: 2 violins, viola, cello
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Daniel Burwasser
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"The Dog Had..." Variations
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Head and Stem
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SheetMusicPlus
FOUR ARABIC SKETCHES - FLEXIBLE 4 PARTS WITH OPTIONAL PERCUSSION FOR BEGINNERS ENSEMBLE
Large Ensemble - Level 1 - Digital Download SKU: A0.1129904 Composed by Wajdi Abou …
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Large Ensemble - Level 1 - Digital Download SKU: A0.1129904 Composed by Wajdi Abou Diab. Arranged by Wajdi Abou Diab. Children,Classical,Folk,Multicultural,Traditional,World. Score and parts. 215 pages. W. Abou Diab #730313. Published by W. Abou Diab (A0.1129904). This collection of four short concert pieces for beginners is intended to introduce the new musicians, as well as the audience, to the world of Arabic music in a fun and enjoyable way, and is designed to make the ensemble practice easy and productive. Every piece introduces a scene from Arabic folklore, inviting the little musicians to discover the beauty of Arabic traditions and cultures. In some pieces, the musicians will be asked to perform some simple body percussion, and say some Arabic words, which will add some magic to the music! The first piece titled Dabkeh is a traditional Levantine dance that is still performed at weddings and public events in Arabic countries, in which the dancers hold their hands together and form a circle showing a scene of solidarity and unity. It is a high-energy dance that demands a great amount of physical effort and is usually performed by both men and women. The second piece takes us to a very special period for Arab people, called Ramadan. For a complete month, people enjoy gathering for the Iftar when the sun sets, after long fasting, then attending public events, and organizing cultural gatherings. The third piece is titled Raqsa, which means simply A Dance. The Arabic dance, mainly performed by a female dancer, is full of energy and beauty. Usually accompanied by hand clapping and percussion instruments, and sometimes singing too. The fourth piece takes us to the traditional Arabic wedding ceremonies, which sometimes continue for more than 5 consecutive days. At an Arabic traditional wedding, all the village gathers in the bride's or groom's home, participating in all the details of the preparations for the wedding, bringing food and gifts, and celebrating joyfully with music, songs, and dances.
$80.00
73.29 €
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Wajdi Abou Diab
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FOUR ARABIC SKETCHES - FLEXIBLE 4 PARTS WITH OPTIONAL PERCUSSION FOR BEGINNERS ENSEMBLE
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W. Abou Diab
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SheetMusicPlus
Christmas In Australia
Choral Unison
Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.774746 Composed by Guy G…
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Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.774746 Composed by Guy Gross and John Palmer. Arranged by Sandra Milliken. Contemporary. Octavo. 7 pages. Sandra Milliken #4888943. Published by Sandra Milliken (A0.774746). Christmas in Australia is the theme song from the animated, made-for-TV movie Blinky Bill’s White Christmas, a spin-off from the Blinky Bill children’s books (by Australian writer Dorothy Wall) and the Adventures of Blinky Bill TV series. The telemovie first aired on Australia’s Seven Network on Christmas Eve of 2005. In the movie the song was sung by Christine Anu, who also reprised it at Sydney’s 2007 Carols in the Domain. Weather-wise, Christmastime in Australia is very different from that in the Northern Hemisphere. Instead of cold, snow and spending time indoors, there’s lots of sunshine, lots of colour everywhere and lots to do in the great outdoors. This delightful song – Christmas in Australia – highlights the fact that, whilst these differences do exist, the true meaning of Christmas, the reasons for rejoicing, the coming together of friends and family, the excitement of children, the decorating, and the caring and sharing are the same the world over. For on this little world of ours, we’re all one family. So, come and join us as we sing, around the Christmas tree. Christmas in Australia deserves a place in the best of Australian Christmas songs. Unfortunately, it is not as widely known and performed as it should be; perhaps because the music has not been readily available. Hopefully these new arrangements for choirs and soloists may go some way towards redressing that situation. This arrangement is available in six versions – SATB, SSA and 2-Part for choirs; Low, medium and high voice for soloists/unison choirs.
$4.99
4.57 €
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Choral Unison
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Guy Gross and John Palmer
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Christmas In Australia
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Sandra Milliken
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SheetMusicPlus
Christmas In Australia
Choral 2-part
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.1121346 Composed by Guy Gros…
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.1121346 Composed by Guy Gross and John Palmer. Arranged by Sandra Milliken. Christmas,Contemporary. Octavo. 8 pages. Sandra Milliken #722519. Published by Sandra Milliken (A0.1121346). Christmas in Australia is the theme song from the animated, made-for-TV movie Blinky Bill’s White Christmas, a spin-off from the Blinky Bill children’s books (by Australian writer Dorothy Wall) and the Adventures of Blinky Bill TV series. The telemovie first aired on Australia’s Seven Network on Christmas Eve of 2005. In the movie the song was sung by Christine Anu, who also reprised it at Sydney’s 2007 Carols in the Domain. Weather-wise, Christmastime in Australia is very different from that in the Northern Hemisphere. Instead of cold, snow and spending time indoors, there’s lots of sunshine, lots of colour everywhere and lots to do in the great outdoors. This delightful song – Christmas in Australia – highlights the fact that, whilst these differences do exist, the true meaning of Christmas, the reasons for rejoicing, the coming together of friends and family, the excitement of children, the decorating, and the caring and sharing are the same the world over. For on this little world of ours, we’re all one family. So, come and join us as we sing, around the Christmas tree. Christmas in Australia deserves a place in the best of Australian Christmas songs. Unfortunately, it is not as widely known and performed as it should be; perhaps because the music has not been readily available. Hopefully these new arrangements for choirs and soloists may go some way towards redressing that situation. This arrangement is available in six versions – SATB, SSA and 2-Part for choirs; Low, medium and high voice for soloists/unison choirs. An instrumental accompaniment for Glockenspiel and string ensemble is also available separately.
$2.30
2.11 €
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Choral 2-part
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Guy Gross and John Palmer
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Christmas In Australia
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Sandra Milliken
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SheetMusicPlus
Christmas In Australia
Choral Unison
Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.774748 Composed by Guy G…
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Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.774748 Composed by Guy Gross and John Palmer. Arranged by Sandra Milliken. Contemporary. Octavo. 7 pages. Sandra Milliken #4888947. Published by Sandra Milliken (A0.774748). Christmas in Australia is the theme song from the animated, made-for-TV movie Blinky Bill’s White Christmas, a spin-off from the Blinky Bill children’s books (by Australian writer Dorothy Wall) and the Adventures of Blinky Bill TV series. The telemovie first aired on Australia’s Seven Network on Christmas Eve of 2005. In the movie the song was sung by Christine Anu, who also reprised it at Sydney’s 2007 Carols in the Domain. Weather-wise, Christmastime in Australia is very different from that in the Northern Hemisphere. Instead of cold, snow and spending time indoors, there’s lots of sunshine, lots of colour everywhere and lots to do in the great outdoors. This delightful song – Christmas in Australia – highlights the fact that, whilst these differences do exist, the true meaning of Christmas, the reasons for rejoicing, the coming together of friends and family, the excitement of children, the decorating, and the caring and sharing are the same the world over. For on this little world of ours, we’re all one family. So, come and join us as we sing, around the Christmas tree. Christmas in Australia deserves a place in the best of Australian Christmas songs. Unfortunately, it is not as widely known and performed as it should be; perhaps because the music has not been readily available. Hopefully these new arrangements for choirs and soloists may go some way towards redressing that situation. This arrangement is available in six versions – SATB, SSA and 2-Part for choirs; Low, medium and high voice for soloists/unison choirs.
$4.99
4.57 €
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Choral Unison
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Guy Gross and John Palmer
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Christmas In Australia
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Sandra Milliken
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SheetMusicPlus
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