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Run Away From It All
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Run Away From It All
Sheetmusic to print
83 sheet music found
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1
26
51
76
365 (from Absalom)
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Choral SATB
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INTERMEDIATE
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Contemporary
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Daniel Elder
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God forgive us or no more God
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365
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Daniel Elder Music
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.854828 Composed by Daniel Elder. Contemporary. 20 pages. Daniel Elder Music #4983459. Pub...
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.854828 Composed by Daniel Elder. Contemporary. 20 pages. Daniel Elder Music #4983459. Published by Daniel Elder Music (A0.854828). It is undeniable that we humans are, as a species, outgrowing our small planet. As populations boom and technologies diversify, we are increasingly unable to run away from our problems. As a result, violence in civilized society is increasing at an alarming rate. How do we combat those that do harm to others, and more importantly, how do we convince our race as a whole that the problem cannot long be ignored? This original poem and its musical setting seek to pay tribute to the victims of violence in the modern United States. In an age where it seems a new tragedy has occurred somewhere every day, this work is titled 365 to represent each day of the year. The poem is structured in seven stanzas for the days of the week, and there are twelve iterations of Three hundred and sixty-five for the twelve months in the year. The final, introspective stanza parallels the poignant Christian story of Christ's crucifixion at the hands of his brethren, and lends a darker side of thought with the chosen grouping of words (read either no more; God forgive us or no more God; forgive us). This text humbly seeks to draw attention to what exactly is happening among us, among our neighbors, our governors, and our legislators, and the importance of addressing this ever-growing crisis in our society.
$2.50
Run Away From It All
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Melody line, (Lyrics) and Chords
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INTERMEDIATE
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Rock
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Blackberry Smoke
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David M Fagnant
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Run Away From It All
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David M Fagnant
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SheetMusicPlus
C Instrument - Level 3 - Digital Download SKU: A0.1094410 By Blackberry Smoke. By Charles Gray and Keith Nelson. Arranged by David M Fagnant. Rock. Lead ...
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C Instrument - Level 3 - Digital Download SKU: A0.1094410 By Blackberry Smoke. By Charles Gray and Keith Nelson. Arranged by David M Fagnant. Rock. Lead Sheet / Fake Book. 3 pages. David M Fagnant #698461. Published by David M Fagnant (A0.1094410). Fakebook style chord chart to help quickly learn and play popular songs. Lyric sheet included which follows the song arrangement. Distinctive intro's, lines and endings written, where appropriate, which help to identify and perform the song.
$4.99
String Quartet No. 5 From The Frieze Of Life (parts)
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Contemporary
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Colin Bayliss
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String Quartet No. 5 From The
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Colin Bayliss
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SheetMusicPlus
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938388 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 29 pages...
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938388 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 29 pages. Colin Bayliss #6141. Published by Colin Bayliss (A0.938388). This work was written in 1999 for an international competition for quartets reflecting in music the visions in three of Edvard Munch's paintings. It is dedicated to the composer's wife, Rayna. 1. The Scream - Moderato - There are 51 versions of The Scream and the movement is in 51 sections grouped roughly into sonata form. The development is largely textural, and the movement hinges about a chord formed of open fifths a major third apart which will also re-appear in the other movements to give the quartet its sense of unity. The screaming is both audible and silent, and the footsteps on the bridge are portrayed both in a sense of passing by and also of running away. 2. Melancholy - Andante - Munch gave other titles to this painting, namely Jappe by the Shore and Jealousy . As jealousy and melancholy are retrospective emotions, tonal and modal music is employed, using the Norwegian folk song Millom bakkar og berg ut met havet set in a minor key for the first section. The A-B-A form then partially loses tonality for Jealousy, while returning to it for Melancholy itself. 3. The Dance of Life - Allegro - This movement is in rondo form, with hints of Norwegian country dances for the dancers in the painting. The two women are portrayed as one looking nostalgically to the light-heartedness of the old waltz and the other brooding on the darkness and latent sexuality of the new tango, the melodies for both of which are also corruptions of the country dances. The Munch chord alters the perspective on the scene as the movement progresses and eventually dissolves at the end as though the onlooker is passing on to another, equally unresolved future. The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/.
$10.00
String Quartet No. 5 From The Frieze Of Life (score and parts)
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Contemporary
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Colin Bayliss
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String Quartet No. 5 From The
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Colin Bayliss
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SheetMusicPlus
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938387 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 66 pages...
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.938387 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 66 pages. Colin Bayliss #6139. Published by Colin Bayliss (A0.938387). This work was written in 1999 for an international competition for quartets reflecting in music the visions in three of Edvard Munch's paintings. It is dedicated to the composer's wife, Rayna. 1. The Scream - Moderato - There are 51 versions of The Scream and the movement is in 51 sections grouped roughly into sonata form. The development is largely textural, and the movement hinges about a chord formed of open fifths a major third apart which will also re-appear in the other movements to give the quartet its sense of unity. The screaming is both audible and silent, and the footsteps on the bridge are portrayed both in a sense of passing by and also of running away. 2. Melancholy - Andante - Munch gave other titles to this painting, namely Jappe by the Shore and Jealousy . As jealousy and melancholy are retrospective emotions, tonal and modal music is employed, using the Norwegian folk song Millom bakkar og berg ut met havet set in a minor key for the first section. The A-B-A form then partially loses tonality for Jealousy, while returning to it for Melancholy itself. 3. The Dance of Life - Allegro - This movement is in rondo form, with hints of Norwegian country dances for the dancers in the painting. The two women are portrayed as one looking nostalgically to the light-heartedness of the old waltz and the other brooding on the darkness and latent sexuality of the new tango, the melodies for both of which are also corruptions of the country dances. The Munch chord alters the perspective on the scene as the movement progresses and eventually dissolves at the end as though the onlooker is passing on to another, equally unresolved future. The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/.
$15.00
All Out of Time
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Piano, Vocal and Guitar
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INTERMEDIATE
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Zane Kuchera
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All Out of Time
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Zane Kuchera Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1419692 By Zane Kuchera. By Music by Zane Kuchera and Words by Zoë aan de Wiel. Jazz,Pop...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1419692 By Zane Kuchera. By Music by Zane Kuchera and Words by Zoë aan de Wiel. Jazz,Pop,Singer/Songwriter. Score. 10 pages. Zane Kuchera Music #1001115. Published by Zane Kuchera Music (A0.1419692). 11/19/23 Zane Kuchera Music released “All Out of Time†(AC/Jazz/Cabaret).The song is about a relationship that's run its course. And you know there's no saving it, it's just a matter of waiting until that moment when it all comes crashing down. Yet even though the relationship is unsalvageable you're reluctant to actually end it and step away from something familiar. Words: Zoë aan de Wiel (Amsterdam), Music & performance: Zane Kuchera https:://album.link/kwqwp2nxjzrbv.
$4.99
All Out of Time
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Piano, Vocal and Guitar
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INTERMEDIATE
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Zane Kuchera
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All Out of Time
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Zane Kuchera Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Interactive Download SKU: A0.1320686 By Zane Kuchera. By Music by Zane Kuchera. This edition: Interactive Download. ...
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Guitar,Piano,Vocal,Voice - Level 3 - Interactive Download SKU: A0.1320686 By Zane Kuchera. By Music by Zane Kuchera. This edition: Interactive Download. Jazz,Pop. Score. 16 pages. Duration 218. Zane Kuchera Music #CwPJMEXd6nUuDQG32GWWH. Published by Zane Kuchera Music (A0.1320686). Key: C major.“All Out of Time†is about a relationship that's run its course. And you know there's no saving it, it's just a matter of waiting until that moment when it all comes crashing down. Yet even though the relationship is unsalvageable you're reluctant to actually end it and step away from something familiar. (AC/Jazz/Cabaret) Words: Zoë aan de Wiel (Amsterdam), Music & performance: Zane Kuchera (ZaneKuchera.com).
$4.99
All Out of Time
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Zane Kuchera
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All Out of Time
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Zane Kuchera Music
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SheetMusicPlus
Bassoon,Cello,Flute,Harmonica,Oboe,Piccolo,Trombone,Tuba,Viola,Violin,Voice - Level 3 - Interactive Download SKU: A0.1320687 By Zane Kuchera. By Music by...
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Bassoon,Cello,Flute,Harmonica,Oboe,Piccolo,Trombone,Tuba,Viola,Violin,Voice - Level 3 - Interactive Download SKU: A0.1320687 By Zane Kuchera. By Music by Zane Kuchera. This edition: Interactive Download. Classical,Jazz,Pop. 46 pages. Duration 200. Zane Kuchera Music #4gUMP1wf1uycAy9mK6JMoc. Published by Zane Kuchera Music (A0.1320687). Key: C major.“All Out of Time†is about a relationship that's run its course. And you know there's no saving it, it's just a matter of waiting until that moment when it all comes crashing down. Yet even though the relationship is unsalvageable you're reluctant to actually end it and step away from something familiar. (AC/Jazz/Cabaret) Words: Zoë aan de Wiel (Amsterdam), Music & performance: Zane Kuchera (ZaneKuchera.com).
$4.99
She's Like the Swallow for SSA choir and piano. Newfoundland folk song ballad.
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Choral 3-part
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INTERMEDIATE
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Stella ter Hart
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Stella ter Hart
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She's Like the Swallow for SSA
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Stella ter Hart
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SheetMusicPlus
Choral Choir,Choral (SSA) - Level 3 - Digital Download SKU: A0.890639 Composed by Stella ter Hart. Arranged by Stella ter Hart. 20th Century,Folk,Standar...
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Choral Choir,Choral (SSA) - Level 3 - Digital Download SKU: A0.890639 Composed by Stella ter Hart. Arranged by Stella ter Hart. 20th Century,Folk,Standards. 12 pages. Stella ter Hart #3455153. Published by Stella ter Hart (A0.890639). This hauntingly beautiful and artistic arrangement of She's Like the Swallow contains the original, very old Newfoundland folk text very rarely used due to it's tragic story line. It is in the genre of beware the uncaring man common in folk songs of Europe which served to teach and warn young girls about the dangers of infatuation. This genre travelled to the United States and Canada in the 1700's. The expression apron low/apron high is a common thread in this genre and refers to being pregnant. She's Like the Swallow tells the tragic tale of a young girl who has fallen in love with, no doubt, a handsome but uncaring man. The story is told from each character's perspective plus an observer (narrator). The girl ultimately creates her own funeral bower of rose petals (ripping them off in desperation as she frantically runs through a garden), lies down on this 'bed of roses' and dies.  You have probably heard this song many times without ever knowing the true meaning due to significant verses left out. You will need a skilled accompanist! The accompaniment utilizes significant word painting throughout to highlight the haunting melody line. Word painting depicts the swallow, uncaring cruelty, desperation, blindly going in circles, anger, church bells and fading away/dying. The conductor is free to take liberties with the tempi and dynamics in order to create a unique interpretation that will resonate with their own choral group. This arrangement of She's Like the Swallow is an exceptional festival or competition piece and one that should be in the repertoire of every skilled women's choir! Duration:  4 minutes                                                                               Key: C minor (plus modulations)                                                                                    Level: intermediate/early advanced composer contact:  www.stellaterhart.com
$2.75
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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Classical
#
dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
But It Was Just Another Squirrel.
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Classical
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Damien Gauci
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But It Was Just Another Squirr
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Damien Gauci
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1495486 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1072003. ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1495486 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1072003. Published by Damien Gauci (A0.1495486). What a relief! It was just another squirrel all along! Whiskers and the other squirrel are cautious to meet each other but they walk up to each other slowly and carefully, ready to run at any moment in case something happens. Whiskers thinks to himself about all that fear and chaos he felt earlier that was all for nothing, he is very relieved to find out that the scary creature he was so scared about was just another squirrel.Whiskers doesn’t have many other friends so he’s happy to find someone else in these woods to become friends with. The scary abandoned house that they’re in seems to fade away now that he feels comfortable with this other squirrel. What an adventure it has been so far, from finding this abandoned house to running for his life to making a new friend. I wonder what her name is?
$6.00
Hymn for the Fallen
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Choral SATB
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INTERMEDIATE
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Timothy Lopez
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Hymn for the Fallen
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Timothy Lopez
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1011001 Composed by Timothy Lopez. Baroque,Contemporary,Romantic Period. Octavo. 1 pages. Timoth...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1011001 Composed by Timothy Lopez. Baroque,Contemporary,Romantic Period. Octavo. 1 pages. Timothy Lopez #2951497. Published by Timothy Lopez (A0.1011001). It's time for the annual purge and this is the year to stop it. A group of freedom fighters collect those against the purge and make a run for it. The freedom fighters do everything possible to protect their followers. They withstand a night in the middle of nowhere fighting off the wilderness and the few purgers who slipped into the group. When they arrive back to civilization they are heartbroken to see that their runaway wasn't enough to prevent the city from falling along with the innocent lives who couldn't make it out. This is a hymn for the fallen, this is a hymn for the collapse of civilization.
$10.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Ballet Piano for Chaines
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Piano solo
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INTERMEDIATE
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Robert Long
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Ballet Piano for Chaines
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Robert Long
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.972912 Composed by Robert Long. 20th Century,Instructional. Score. 2 pages. Robert Long #6408607. Publish...
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Piano Solo - Level 3 - Digital Download SKU: A0.972912 Composed by Robert Long. 20th Century,Instructional. Score. 2 pages. Robert Long #6408607. Published by Robert Long (A0.972912). From the Ballet Etudes album, original piano sheet music for chaines, by Robert Long. This piece has a manic, runaway feel to it, lending perfectly to the excitement of this exercise.
$2.95
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 hands
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ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Betlehem Városban
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Handbells
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EASY
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Scott Pfitzinger
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Scott Pfitzinger
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Betlehem Városban
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Pfitzinger Music
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SheetMusicPlus
Handbell - Level 2 - Digital Download SKU: A0.1490682 Composed by Scott Pfitzinger. Arranged by Scott Pfitzinger. Christmas,Holiday,Multicultural,Religio...
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Handbell - Level 2 - Digital Download SKU: A0.1490682 Composed by Scott Pfitzinger. Arranged by Scott Pfitzinger. Christmas,Holiday,Multicultural,Religious,World. 8 pages. Pfitzinger Music #1067488. Published by Pfitzinger Music (A0.1490682). Betlehem Városban is a traditional Hungarian Christmas carol. The title translates to In the Town of Bethlehem.This arrangement is for 3-6 octaves of handbells. It is completely in 7/8 time and moves pretty quickly. It is very energetic and takes less than two minutes. While it is appropriate for any holiday setting, it could easily be used as a closer or encore for a concert.(Reproducible for one ensemble)Lyrics:Betlehem városban, rongyos istállóban maszületett,Egy szűznek méhéből, drága szent véréből Megváltónk lett.Kit angyal hirdetett, pásztornak jelentett,Ki őtet imádni és dicsőíteni méltóvá lett.Öreg bojtár mondja, hogy bárány és gida készen légyen.Ő harmadmagával, sípos és dudással már elmégyen.Mindeneknek lessen ajándéka készen,Mivel a kisdedet, mint Üdvözítőnket megtiszteljék.Üdvözlégy született, jászolba tétetett kisded Jézus,Tehozzád járulunk, elődbe borulunk, tőlünk ne fuss.Halálunk óráján, életünk fogyatánVedd hozzád lelkünket, ne hagyj el bennünket, kisded Jézus.(a story of the birth of Jesus, roughly paralleling Luke 2:6-16)English version from Google Translate:He was born in the city of Bethlehem, in a shabby barn,He became our Savior from the womb of a virgin, from his precious holy blood.Whom an angel announced, reported as a shepherd,He became worthy to be worshiped and glorified.Old burdock says to be ready lamb and kid.He will leave with a third of himself, with a whistle and a horn.Let everyone have a gift ready,Because you are honored as our Savior.Hail, your baby Jesus, born and placed in a manger,We join you, we fall before you, don't run away from us.At the hour of our death, at the end of our lifeTake our souls to you, don't leave us, little Jesus.
$30.00
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Three Images from the Hubble Telescope
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Trumpet
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ADVANCED
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Amy Dunker
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Three Images from the Hubble T
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Amy Dunker
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SheetMusicPlus
Trumpet Solo - Level 5 - Digital Download SKU: A0.969866 Composed by Amy Dunker. Concert,Contemporary. Individual part. 13 pages. Amy Dunker #6083273. Pu...
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Trumpet Solo - Level 5 - Digital Download SKU: A0.969866 Composed by Amy Dunker. Concert,Contemporary. Individual part. 13 pages. Amy Dunker #6083273. Published by Amy Dunker (A0.969866). Three Images from the Hubble Telescope consists of three musical meditations on pictures taken through the telescope. The work can be performed with or without projected images. I. NGC 4907 The barred spiral galaxy known as NGC 4907 shows its starry face from 270 million light-years away to anyone who can see it from the Northern Hemisphere. II. Interstellar Comet Borisov On Aug. 30, 2019, when amateur astronomer Gennady Borisov gazed upward with his homemade telescope, he spotted an object moving in an unusual direction. Now called 2I/Borisov, this runaway point of light turned out to be the first confirmed comet to enter our solar system from some unknown place beyond our Sun’s influence. III. Rose Galaxies The image shows a large spiral galaxy apparently attached to another one by a swirl of stars – a rose-like effect caused by the gravitational pull of the galaxy below it. The sprinkling of blue jewel-like points across the top of the larger galaxy is the combined light from clusters of intensely bright and hot young blue stars. These massive stars glow fiercely in ultraviolet light.Duration: 11:30
$10.00
Runaway Baby
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Pop music
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Soul/R&B
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Bruno Mars
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Laura Chegwidden
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Runaway Baby
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Laura Chegwidden
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SheetMusicPlus
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.812078 By Bruno Mars. By Ari Levine, Bruno Mars, Christopher Steven Brown, and Philip ...
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.812078 By Bruno Mars. By Ari Levine, Bruno Mars, Christopher Steven Brown, and Philip Lawrence. Arranged by Laura Chegwidden. Pop,R & B. 16 pages. Laura Chegwidden #3053087. Published by Laura Chegwidden (A0.812078). Runaway Baby is a funky song by popular songwriter and singer Bruno Mars. This arrangement is for string quartet, and the form follows the official recording exactly. It used string ostinatos to recreate the drums, which are an integral part of the song. This upbeat arrangement is perfect for weddings, schools, churches and any other performance opportunities that arise for the professional or amateur musician. The arrangement goes for approx. 2:30 min. This purchase includes a score and parts for all performers; violin 1, violin 2, viola, and cello. It would work best for players of an intermediate to advanced level. It is set in the key of F minor, which is not the original key but works better on the instruments the song is arranged for. Laura Chegwidden is a pianist, cellist, double bassist and singer from Newcastle Australia. She recently graduated with distinction from the University of Newcastle with a B.MUS majoring in Cello and Composition. For more arrangements like this one or for any questions you can contact Laura through her facebook page: www.facebook.com/lchegmusic/
$16.99
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and pa...
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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
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