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You've selected:
Some World Far From Ours
Sheetmusic to print
21 sheet music found
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1
Some World Far From Ours
Soprano voice, Piano
Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.873021 Composed by Sa…
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Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.873021 Composed by Sally Whitwell. Contemporary. 8 pages. Sally Whitwell #3867171. Published by Sally Whitwell (A0.873021). Composer’s Note - Some World Far From OursA principle source of inspiration for composers is surely a performer of great talent and skill. Percy Bysshe Shelley proves that this is true not only for composers but for poets as well. His dear friend Jane Williams -- the never proven conjecture is that she was actually his lover -- could sing like a bird and also play flute, harp and guitar. In S​ ome World Far From Ours,​ I so enjoyed bringing some musical life to a text that praises a musician from a poet who understands how a singing voice can transport a listener in a was that speech cannot.-- Sally Whitwell
$1.99
1.82 €
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Soprano voice, Piano
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Sally Whitwell
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Some World Far From Ours
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Sally Whitwell
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SheetMusicPlus
Sleep for Mama, 'Farðu að sofa fyrir mig' (Icelandc Folk Song) as played by Víkingur Ólafsson
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1154476 By Snorri Sigfús Birgiss…
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Piano Solo - Level 2 - Digital Download SKU: A0.1154476 By Snorri Sigfús Birgisson and VÃkingur Ólafsson. By Traditional Icelandc Folk Song. Arranged by Flavio Regis Cunha. Classical,Folk,Instructional,Multicultural,Wedding,World. Score. 4 pages. Flavio Regis Cunha #754761. Published by Flavio Regis Cunha (A0.1154476). At last! Now you can play 'Sleep for Mama (Icelandic Folk Song) like a pro! The sheet music for this beautiful tune, as played famously by Icelandic pianist VÃkingur Ólafsson, is available now. This is an exceptional opportunity for students and professional pianists alike to gain an insight into the aesthetically-pleasing style of one of the best-known Icelandic pianists. Experience this heartfelt tune for yourself with 'Sleep for Mama (Icelandc Folk Song) as played by Icelandic pianist VÃkingur Ólafsson' – available now!Easy Intermediate.Format: Concert, 9 x 12 inches.4 pages.NotesBeautiful and gentle Arrangement of 'Farðu að sofa fyrir mig' Sleep for Mama (Icelandc Folk Song) as played by VÃkingur Ólafsson in his 2021 single for Deusche Grammophon. Introducing Winter Tales – a new seasonal album featuring music from some of the label’s star composers, who were invited to reimagine the music of Christmas and Chanukah, drawing inspiration from their childhoods and homelands. The album, which is due for release on 21 October, comprises 12 very personal responses to that creative challenge, all of which have something fresh and timely to say about winter’s promise of renewal and light’s power over darkness.
$5.99
5.47 €
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Piano solo
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Snorri Sigfús Birgisson and VÃkingur Ólafsson
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Sleep for Mama, 'Farðu að sofa fyrir mig'
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Flavio Regis Cunha
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SheetMusicPlus
Shallow (from "A Star Is Born") - Piano Solo
Piano solo
Piano Solo - Intermediate - Digital Download By Lady Gaga. Arranged by Mario Stallbau…
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Piano Solo - Intermediate - Digital Download By Lady Gaga. Arranged by Mario Stallbaumer. 4 pages. Published by Mario Stallbaumer
With this piano sheet music, you can play “Shallow” by Lady Gaga & Bradley Cooper (from their film “A Star Is Born”) on piano.<br> <br> It's an accurate piano arrangement of the whole song which is not too hard to play, and sounds fantastic!<br> The whole melody is included in the piano part, so it's a great instrumental version which doesn't lack anything.<br> But of course, you can also use these piano sheets to accompany singers, or sing along yourself!<br> <br> FYI:<br> I also have a version of this arrangement which includes the song's full lyrics:<br> https://www.sheetmusicplus.com/title/21134754<br> <br> And if this piano version looks a bit too hard for you, there's also an easy piano arrangement available:<br> https://www.sheetmusicplus.com/title/21143810<br> <br> "Shallow" is a beautiful duet by Lady Gaga and Bradley Cooper, from their 2018 film "A Star Is Born". It was released in September 2018 as the lead single from the film's soundtrack (a week before the film's release in US theaters).<br> <br> "Shallow" is a catchy, emotional pop song, and sounds great on piano!<br> <br> Here are the full lyrics for “Shallow”:<br> <br> Tell me somethin', girl<br> Are you happy in this modern world?<br> Or do you need more?<br> Is there somethin' else you're searchin' for?<br> I'm falling<br> In all the good times I find myself<br> Longin' for change<br> And in the bad times I fear myself<br> Tell me something, boy<br> Aren't you tired tryin' to fill that void?<br> Or do you need more?<br> Ain't it hard keeping it so hardcore?<br> I'm falling<br> In all the good times I find myself<br> Longing for change<br> And in the bad times I fear myself<br> I'm off the deep end, watch as I dive in<br> I'll never meet the ground<br> Crash through the surface, where they can't hurt us<br> We're far from the shallow now<br> In the shallow, shallow<br> In the shallow, shallow<br> In the shallow, shallow<br> We're far from the shallow now<br> Oh, oh, oh, oh<br> Whoah!<br> I'm off the deep end, watch as I dive in<br> I'll never meet the ground<br> Crash through the surface, where they can't hurt us<br> We're far from the shallow now<br> In the shallow, shallow<br> In the shallow, shallow<br> In the shallow, shallow<br> We're far from the shallow now
$5.99
5.47 €
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Piano solo
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Lady Gaga
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Shallow
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Mario Stallbaumer
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SheetMusicPlus
Suite No. 1
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Sco…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
9.99 €
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.1 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Laude Cortonese
Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male…
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Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male choir. Composed by Gavin Bryars. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Op. 5. Duration 8 minutes. Schott Music - Digital #Q19070. Published by Schott Music - Digital (S9.Q19070). Italian.My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied vocal “laude†found in a collection from 13th century Cortona. The people who originally sang such things - the ‘laudesi’ - banded together in confraternities but were not usually associated with any particular church and this music was not part of any liturgy. The first laude that I wrote were, like the mediaeval originals, for unaccompanied voice - for the soprano Anna Maria Friman. I then wrote some for two voices, adding the tenor John Potter, and some for three sopranos, the Trio Mediaeval. Gradually I added more for other vocal combinations as well as some with instrumental accompaniment. But I do return from time to time to the ‘purer’ solo or duo lauda. In 2006 I wrote a number of pieces for the Estonian National Men’s Choir (RAM) chiefly through my friendship and collaborations with its conductor Kaspars Putnins who, as well as conducting the Latvian Radio Choir, was director of RAM. I wrote two laude for them. Lauda 31 was completely new, while Lauda 32 is a new version of Lauda 19 “Omne homoâ€. Both make full use of the special quality of the Estonian choir and Lauda 32 in particular deliberately aims to have the sound of singers in a Russian Orthodox tradition.Whatever vocal approach I use for setting lauda texts, I treat them with great respect in relation to the original lauda. I adhere as far as possible to the same number of notes to a syllable that are in the mediaeval versions, frequently following the melodic contours and sometimes quoting individual phrases. I still relish the challenge of writing vocal music which is quite exposed, and which retains something of the austerity of the original. Gavin Bryars (2012).
$6.99
6.38 €
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Gavin Bryars
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Laude Cortonese
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Schott Music - Digital
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SheetMusicPlus
Lembranças do Brasil (for Brass Quintet)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158292 Compo…
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Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158292 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Jazz,Multicultural,World. 30 pages. Https://gildedmusicpress.com/ #758480. Published by https://gildedmusicpress.com/ (A0.1158292). Commentary written by the composer, Dr. Daniel N. Thrower: In July 2018 I spent nine days in Barra Mansa, Brazil, which lies a couple hours west of Rio de Janeiro. The occasion of my visit was the second annual International Music Festival. The festival coordinator, Vantoil de Sousa, Jr. brought me there to be the resident trumpet professor for the week, and to premiere my three-movement Concerto for Trumpet and Orchestra at the Closing Concert. As I speak Portuguese somewhat fluently, many of the 20 trumpet students of all levels became great friends. Throughout the week I kept mentioning that my next composition was going to be “Lembranças do Brasil†as yet another musical journal entry in my life’s soundtrack. Truly, I had a lifetime of extraordinary experiences in Brazil during that week, from the outstanding food to my humorous self-introduction to capivaras! Overall, that week was supremely memorable and definitely a highlight of my life. One morning in early November 2018, a 'feel-good' cool melody woke me up and wouldn’t leave. It developed in my mind and I was in a spectacular mood all day long. It felt like Bobby McFarrin’s 'Don’t Worry, Be Happy' or Pharrell Williams’ 'Happy,' though in a vastly different style from either. This was my happy song. Long hours flowed quickly through the next few days as I worked out the form and details of the music, which screamed for the promised title 'Lembranças do Brasil'! Happy memories of my beautiful week in Brazil, some of which are captured on the front cover collage, now have the perfect soundtrack in my musical journal. This version was tweaked from the original five flugelhorns, and lends itself very well (perhaps even better) in the brass quintet setting.
$24.95
22.77 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Dr
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Lembranças do Brasil
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https://gildedmusicpress.com/
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SheetMusicPlus
Fables, Fiction, and Folklore
Brass ensemble
Brass Ensemble - Digital Download SKU: A0.1024971 Composed by Simon M. Sperl. Conte…
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Brass Ensemble - Digital Download SKU: A0.1024971 Composed by Simon M. Sperl. Contemporary. Score and parts. 28 pages. Sperl Publishing #3912935. Published by Sperl Publishing (A0.1024971). This piece, Fables, Fiction and Folklore, is built on a mode and musical figure that can be transposed by a tritone while maintaining every note in the scale. In other words, whether it’s played in G or C#, the exact same notes are used. This mirroring of the musical figure is meant to symbolize how we see ourselves. We look in the mirror and see something that may look like us but is, in fact, as far away from reality as possible. We look past all the good and beautiful things in ourselves and our worlds while only seeing our faults and blemishes. On the other hand, when we look at others, we see idealized versions. We think about them as if they are fictionalized characters in a story. Let’s focus on the positive when we look at ourselves and our lives and forgive the imperfections. We’re the heroes of our personal folktale.
$29.99
27.37 €
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Brass ensemble
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Simon M
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Fables, Fiction, and Folklore
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Sperl Publishing
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SheetMusicPlus
Mysterious Moment for alto flute and string trio
String Trio: violin, viola, cello
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.3 €
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String Trio: violin, viola, cello
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.3 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
Four Impressions on Debussy (4 Piano Preludes - Full Orchestra) ? Score and Parts
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debu…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1370381 Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381). From Debussyâ??s Préludes, Book I:I: The Wind Over The PlainsII: The Girl With The Flaxen HairIII: Puckâ??s DanceIV: The Sunken CathedralDebussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.I hope you enjoy performing this suite as much as I enjoyed arranging it.Instrumentation: Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets in Bâ? Bass Clarinet in Bâ? 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bâ? 2 Trombones Bass Trombone Tuba Timpani Percussion (3/4 players): Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells Celesta Harp Violin 1 (divisi à 4) Violin 2 (divisi à 4) Viola (divisi à 4) Violoncello (divisi à 4) Contrabass (B extension where possible) (divisi à 4)
$99.99
91.26 €
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Orchestra
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Claude Debussy
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Four Impressions on Debussy
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OlivePress Music
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SheetMusicPlus
Songs for the Midnight Sun
Flute, harp and violin
Small Ensemble Flute,Harp,Violin - Level 3 - Digital Download SKU: A0.797341 Arrang…
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Small Ensemble Flute,Harp,Violin - Level 3 - Digital Download SKU: A0.797341 Arranged by Beth Kolle. Concert,Folk,World. Score and parts. 40 pages. Afghan Press Music for the Harp #4808447. Published by Afghan Press Music for the Harp (A0.797341). Songs for the Midnight Sun comprises fifteen Nordic folk melodies, dance tunes, songs and ballads that have captured the arranger's imagination over the years. For Beth Kolle, Scandinavian music is the expression of the unparalleled beauty of the Nordic countries. The exotically different modes and harmonies evoke wild nature, and unseen beings of the ancient folk beliefs. This is music meant to be sung, danced to, or crooned to sleepy children, preferably in an age-old log cabin redolent of sweet, mellow resin and many years of comforting fires. As with all her other books, these arrangements are meant to be adjusted to your own playing style. Use them as a stepping-off point for making the arrangement your own, or use some of my ideas in a different song. Consider yourself warned: many Scandinavian tunes are addictive and tend to roll around in your head. The cure for that, of course, is to find another tune to replace the one in your head. And so on....good luck with that.Contains: Song from Venjan, Traditional Song, Dalarna, Sweden, The Dream, Göran ‘Freddy’ Fredriksson, Sweden (also has flute/fiddle part), Polska from Hälleforsnäs, Traditional Polska, Sweden, Ball Polska, Traditional Polska, Sweden, Funk Fars Polska, Traditional Polska, Rättvik, Sweden, Marjankukka (Berry Flower), Lauri Keskinen, Finland (Flute or Fiddle part included), Springtime Waltz, Traditional Waltz, Sweden (Flute or Fiddle included), Walking Tune (Gånglåt efter Hamare), Traditional Gånglåt, Sweden, The Lost Sheep, Traditional Melody, Telemark, Norway, Waltz from Denmark, Traditional Waltz, Denmark, Amanda, Roger Tallroth, Sweden ,Waltz from Folldal, Traditional Waltz, Norway (Flute or Fiddle part included), Bridal March from Äppelbo, Traditional Wedding March, Sweden, Griffenfeldt, Traditional Reinlender, Norway, La Folia, Traditional Polska, Sweden (Flute or Fiddle part included)
$20.00
18.25 €
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Flute, harp and violin
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Songs for the Midnight Sun
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Afghan Press Music for the Harp
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SheetMusicPlus
The Emotional Lives of Colors (for trumpet, piano, and percussion)
B-Flat Trumpet,Percussion,Piano - Level 5 - Digital Download SKU: A0.1201730 Compos…
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B-Flat Trumpet,Percussion,Piano - Level 5 - Digital Download SKU: A0.1201730 Composed by Brandon Nelson. 20th Century,Chamber,Classical,Contemporary,Contest,Festival. 37 pages. Brandon Nelson #800346. Published by Brandon Nelson (A0.1201730). Johann Wolfgang von Goethe and his theory on how colors impacted mental states was the inspiration for this piece. He was far more gifted with prose than I, so I’ll him explain further:We shall not be surprised to find that [colours’] effects are at all times decided and significant, and that they are immediately associated with the emotions of the mind.Colour, considered as an element of art, may be made subservient to the highest aesthetical needs.General impressions produced by single colours cannot be changed[.] They act specifically and must produce definite, specific states in the living organ. Experience teaches us that particular colours excite particular states of feeling.Goethe goes on to detail these notions in an elaborate, deeply imaginative treatise. Sadly for him, this work was coming out just as the science of optics had begun to give the world an empirical understanding of color, leaving Goethe’s romantic ideas in the margins.But it is those ideas that I find intriguing from a poetic viewpoint, and, in this composition, I shed musical light unto his dramatic descriptions of several different colors.“Yellow-Red†is described as “primordial, impetuous, robust,†to the point of eliciting “extreme excitement†which disturbs and enrages even animals!“Yellow†is portrayed as that being nearest to natural light. It is of “utmost purity and beauty[….] Serene, gay, softly exciting.â€The color “Red-Blue†we are told is “something lively without gladness.â€â€œBlue†is steeped in darkness, a “contradiction between excitement and repose.†It gives one the “impression of cold.†and brings to mind melancholy.
$29.99
27.37 €
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Brandon Nelson
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The Emotional Lives of Colors
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Brandon Nelson
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SheetMusicPlus
Over The Rainbow
Large Ensemble - Level 2 - Digital Download SKU: A0.939391 By Judy Garland. By Haro…
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Large Ensemble - Level 2 - Digital Download SKU: A0.939391 By Judy Garland. By Harold Arlen. Arranged by Adam Grim. Contemporary. Score and parts. 50 pages. Adam B. Grim #6438223. Published by Adam B. Grim (A0.939391). Somewhere Over the Rainbow and What a Wonderful World are two songs that can be used to define many emotions. Hope, inspiration, freedom of stress and worrying, and an openness to find those who care. These two songs play together and are rich with hope for the future after being locked away from one another from the Coronavirus pandemic of 2020. Solemn and hopeful motion provide this piece direction, and hopefully the listeners and performers can find these internally as well. Wish upon a star that the clouds be far behind us and think to yourself what a wonderful world. I hope you enjoy!
$75.00
68.45 €
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Judy Garland
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Over The Rainbow
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Adam B. Grim
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SheetMusicPlus
Numbered Places [11 pieces for piano solo]
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20…
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Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20th Century, Contemporary Classical, Minimalism, Neo-Classical, Repertoire. Score, Solo Part. 35 pages. Published by Juan Maria Solare
Juan María Solare: Numbered Places (eleven piano pieces) <br> <br> <br> <br> 01 - One Way Flight to... (2:50)<br> <br> 02 - Twopenny Loaf [USA] (3:45)<br> <br> 03 - Three Bridges [UK] (2:25)<br> <br> 04 - Four Oaks [USA] (3:00)<br> <br> 05 - Five Pointz [NYC] (3:45)<br> <br> 06 - Six Mile Bottom [UK] (2:40)<br> <br> 07 - Seven Kings [UK] (5:10)<br> <br> 08 - Eight Streets [USA] (5:55)<br> <br> 09 - Nine Elms [UK] (2:50)<br> <br> 10 - Ten Ten Road [NC, USA] (3:25)<br> <br> 11 - Eleven Lands [UK] (3:30)<br> <br> <br> <br> Totaltime: 39:15<br> <br> Numbered Places * piano * music by Juan María Solare<br> <br> <br> <br> The cycle Numbered Places startsfrom a simple idea: the piece nr. 1 would have a title that begins with theword One, the piece nr. 2 a titlethat begins with the word Two and soon up to an arbitrary number (in this case, eleven).<br> <br> <br> <br> For everything to have more cohesion, English names of different places orregions in either USA or (mainly) UK were used.<br> <br> <br> <br> In its own way, Numbered Placesis therefore a conceptual album - alreadyfrom the point of view of titles.<br> <br> <br> <br> Also musically, this world of sound has cohesion: instrumental piano music,neoclassical aesthetics (a somewhat broad concept that encompasses composerssuch as Erik Satie or Ludovico Einaudi), a certain simplicity in its surface.<br> <br> <br> <br> Let us briefly comment each of the titles:<br> <br> <br> <br> - One WayFlight to ...: The imaginary journey starts here. Each person will completethe sentence with the destiny of their choice.<br> <br> - TwopennyLoaf: This is a neighborhood (and geographically a cape) in the city ofGloucester, Essex County, Massachusetts, USA. It is believed to have gotten itsname because it is shaped like a (bread) loaf that at the time cost twopennies.<br> <br> - ThreeBridges: It is a city somewhere between London and Brighton, and a nodalpoint where trains typically split. Musically, the most minimalistic of all thecycle.<br> <br> - Four Oaks:There are numerous places so named, both in England and the US, and possibly inother countries. I can imagine that there were actually four oak trees planted near.<br> <br> - FivePointz: Neighborhood in Queens, New York. A graffiti mecca that wasdemolished in 2014 to build expensive buildings. And yes, it is spelled with zin this case.<br> <br> - Six MileBottom: Is a hamlet near Cambridge in England. The hamlet derives its namefrom its distance from the start of Newmarket Racecourse and because it lies ina valley bottom. There is no public transport. The old train station, closed in1967 for lack of use, is now a private residence.<br> <br> - SevenKings: It is a neighborhood in Ilford, East London. The earliest recordeduse of the name is as Sevekyngg or Sevekyngges in 1285, possibly meaning'settlement of the family or followers of a man called Seofoca'<br> <br> - EightStreets: it is a (very sought-after) neighborhood located in the heart ofthe historic South End of the city of Boston, Massachusetts, USA.<br> <br> - Nine Elms:a district of South West London. Nine Elms Lane was named around the year 1645,from a row of elm trees bordering the road.<br> <br> - Ten TenRoad: it is a place -actually the main road- in the town of Apex, NorthCarolina, USA.<br> <br> - ElevenLands: this place is mentioned in an old legal report from around 1782 asexisting in North London ("a place called Eleven Lands, containing fiveacres of arable, formerly Cosby's, beonging to a farm in the said parish ofBletcheley...", in " Acollection of the Reports of Cases, the Statutes, and Ecclesiastical Laws,relating to Tithes", volume 3). It has certainly changed its name.Musically, this last piece has a certain tango aura.<br> <br> <br> <br> <br> <br> Why eleven pieces and not more? The truth is that - incredibly as it mayseem - I didn't find any place called "Twelve" something. Yes thereare such names in other languages, but I wanted to keep some consistency. Thereare also pubs or bars called Twelvewhatever, but since they are not sponsoring my music, I had no motivation togive them free advertising at the moment.<br> <br> <br> <br> This album was released in early 2020 on Spotify, iTunes and allother online platforms through the label BlissRecordings in London (part of frtyfve).Find your favorite service here: https://frtyfve.lnk.to/NPVol1<br> <br> <br> <br> There are alsovideos of several pieces of this album. They are in the following playlist:<br> <br> https://www.youtube.com/playlist?list=PL70vQeCRYmkp3vEdIkdnjJyiU1aZ_u7HA
$11.00
10.04 €
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Piano solo
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Juan María Solare
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Numbered Places [11 pieces for piano solo]
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Juan Maria Solare
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SheetMusicPlus
Blue Tango
Handbells
3, 4, 5 or 6 octaves handbells - Level 4 - Digital Download SKU: C7.CGB936 Composed…
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3, 4, 5 or 6 octaves handbells - Level 4 - Digital Download SKU: C7.CGB936 Composed by Cathy Moklebust and Leroy Anderson. Arranged by Cathy Moklebust. General, Concert. Master Ringer. With snare drum (snares off); 3 octaves handchimes. Score. 16 pages. Chorister's Guild - Digital #CGB936. Published by Chorister's Guild - Digital (C7.CGB936). UPC: 749193022320.From Handel to Mozart to Vivaldi (and more!), Classical Favorites for Twelve Bells is ideal for times when you may need some variety in your program, as it offers sacred, secular and crossover titles. You'll find yourself reaching for this collection when you're off to venues like nursing homes, schools, weddings, business events or Sunday services. While each piece uses only twelve bells spanning F5 to C7, not every title uses the standard set of twelve bells in F major, dramatically expanding the possibilities for varied keys and harmonies. Contents: Themes from The Four Seasons (Spring and Autumn); Theme from LeCygne (The Swan); The Merry Widow Waltz; Jupiter; Rondeau; The Happy Farmer; Hornpipe; Theme from New World Symphony (Largo); La donna e mobile; 4th Movement from Eine Kleine Nachtmusik (Rondo).
$5.95
5.43 €
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Handbells
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Cathy Moklebust and Leroy Anderson
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3 octaves handchimes
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Blue Tango
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Chorister's Guild - Digital
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.47 €
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Trumpet
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trumpet
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
15.47 €
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Trumpet
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Eric Bolvin
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The Arban Manual - Hooten Edition
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SheetMusicPlus
12 Evocations (for Piano solo)
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Tiago Videira. Impressionist…
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Piano Solo - Intermediate - Digital Download Composed by Tiago Videira. Impressionistic, Neo- Classical, Repertoire, Recital, New Age. Score. 62 pages. Published by Tiago Videira
“Évocations” is a suite for Piano solo, impressionistic, contemplative much in the trail of Satie, Debussy or Mompou. Intimist and suitable for aesthetic pleasure. This is a series of works that will lead you into an exotic journey to far away places. Just letyourself be drift away to a better place where the sounds will healyour soul.<br> <br> These Evocations range all degrees of difficulty, from very easy to more challenging ones. Therefore, are suitable for the classrom, recitals or family gatherings and parties.<br> <br> Evocation I – The Harvest<br> <br> The harvest in Alentejo, Portugal, occurs when the fields become tanned and a soft, warm wind coming from the south blows. It is the time of the year when you grab your hat made of straw and you let yourself be sunk ina sea of rye.<br> <br> Evocation II – The Sepia photograph<br> <br> Memories. They can be happy, bittersweet or painful... Sometimes nostalgia gets the better out of us. And then we are dragged into the past, into a suspended, slow and hypnotic time. Old sepia colored pictures in a drawer orscattered around our bed.<br> <br> Evocation III – The dead soldier<br> <br> The battle is over. Amournful wife, the weeping children. An everlasting pain shutteringour heart. And the hope that wherever he is, he is in peace now. And we are all proud of him. Thank you for serving our country.<br> <br> Evocation IV – The composer<br> <br> The tragedy of the blank page. An everlasting winter in our soul. Snow is falling, thepath is difficult to trail. Being an artist involves an incommensurable amount of suffering because we have to give it all. And even giving it all it isn't enough, and we feel drained and exhausted in the end.<br> <br> Evocation V – The Glowing Sun<br> <br> The blond hair and the most radiant smile one could ever imagine. She is a glowing sun, like an everlasting shine in the sky. She doesn't walk, she floats with extreme elegance across the street, and in the corner, she doesn't turn – she spins and swirls with heavenly grace.<br> <br> Evocation VI – The Far<br> <br> Longing. Eternally. I hope you've read my letters. I hope you've heard my calls. I opened my heart to you. Why do you take so long? Why can't I hear your voice? Why do you keep me waiting here. Here, so close, yet... so far... alone... forever...<br> <br> Evocation VII – The Queen of Spades<br> <br> The dark lady is the strongest in the deck. Mystical, fantastic, she wanders like a shadow in your world. Across the garden, carrying a sickle, she's just waiting to chop a head on the next turn.<br> <br> Evocation VIII – The Poem<br> <br> A book, a sonnet. Fourteen verses with rigorous metric, with a defined purpose. A parlor game, a riddle. Can you guess what's hidden inside these wondrous sounds?<br> <br> Evocation IX – The Thinker<br> <br> A desk loaded with books. The glasses. A mind always working, methodic, cold, rigorous. Numbers, hidden relationships, an everlasting connection with the abstraction.<br> <br> Evocation X – The Island of the Hydrangeas.<br> <br> A paradise on earth, smooth rain, narrow and sinuous roads. Walking, then biking, then driving around. An adventure in one of the most beautiful places in the world.<br> <br> Evocation XI – The Near<br> <br> When you're here everything will be beautiful. I can see it already in my head, the endless, passionate love, a tender sweet kiss that will last forever. Your lips on mine, while holding hands, in the bench, in the garden, under the tree. You are the one.<br> <br> Evocation XII –Saffron rice<br> <br> The rice is golden like your hair and your class. The sweet taste of nobility, the craft ofwisdom, the delicacy of experience. Maturity is what time brings, it is not a curse, it is a gift that we should embrace and respect.
$25.99
23.72 €
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Piano solo
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Tiago Videira
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12 Evocations
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Tiago Videira
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SheetMusicPlus
TRITONE Sonata for Trumpet in B-flat and Piano
Trumpet, Piano
Piano Accompaniment, Trumpet - Advanced - Digital Download Composed by John Frith. 21st…
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Piano Accompaniment, Trumpet - Advanced - Digital Download Composed by John Frith. 21st Century, Contemporary Classical. Score, Solo Part. 36 pages. Published by Cherry Classics Music
Here is a description of the TRITONE Sonata for Trumpet and Piano by the composer, John Frith:<br> <br> "One of my most enjoyable roles in music was conducting the Herefordshire Young People’s Orchestras (UK) in the late 1980s. Stuart Essenhigh was a very talented young trumpeter who toured Belgium with the orchestra as a soloist in 1989.<br> <br> Encouraged by this experience Stuart went on to study in London graduating as a fine professional trumpeter working firstly in Hong Kong and then as a freelancer with major U.K. orchestras.<br> <br> My TRITONE Sonata for Trumpet and Piano of 2016 was written specifically for Stuart. Each of its three movements uses the interval of a tritone in different ways. We hear it initially as a ‘benign’ element of the first movement; ‘ironic’ in the second and even ‘playful’ in the last.<br> <br> I - Moderato<br> <br> The use of a ‘straight’ mute to open and close this movement greatly enlarged my palate of sound colours and, together with some unconventional ‘flutter- tonguing’ techniques, it allowed me to emphasize the declamatory and strident possibilities of this powerful instrument…... I call for ‘ffff’ (fortissississimo) at one point! The muted coda creates an otherworldly’ atmosphere - distant and questioning at the close.<br> <br> II – Andante espressivo – piu mosso – Tempo primo<br> <br> The opening austere and angular melody (which demands great lip flexibility and control) leads to a relaxed and flowing ‘piu mosso’ with quasi baroque idioms. This builds towards florid, technical passages for the soloist which are matched by more assertive piano lines heralding the return of the opening material and a soulful resolution.<br> <br> III – Maestoso – rondo<br> <br> A traditional martial ‘fanfare’ opens the final movement by answering phrases from both instruments. There is something of a power struggle in progress here which is momentarily resolved at the ‘rondo’ where the piano accepts a supportive ‘um-pa-pa’ accompanimental role. The trumpet melody is dominant and confident but the piano gradually asserts itself propelling the music with a powerful ‘boogie-woogie’ style bass line. This encourages both instruments to climb ever higher in, what I trust will be, a thrilling race for the final bar." John Frith 2020<br> <br> This work is about 12 minutes in length and is appropriate for advanced to virtuoso performers.
$30.00
27.38 €
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Trumpet, Piano
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John Frith
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TRITONE Sonata for Trumpet in B-flat and Piano
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Cherry Classics Music
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SheetMusicPlus
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