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That Old Black Magic - Trombone 1
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You've selected:
That Old Black Magic - Trombone 1
SheetMusicPlus
Sheetmusic to print
10 sheet music found
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1
That Old Black Magic
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C Instruments
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Jazz
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Harold Arlen
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Mark W
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That Old Black Magic
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Mark Wayne Music, LLC
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SheetMusicPlus
C Instrument - Digital Download SKU: A0.808255 Composed by Harold Arlen. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 6 pages. Mark Wayne M...
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C Instrument - Digital Download SKU: A0.808255 Composed by Harold Arlen. Arranged by Mark W. Huxhold. Jazz. Lead Sheet / Fake Book. 6 pages. Mark Wayne Music, LLC #3540023. Published by Mark Wayne Music, LLC (A0.808255). Gig worthy! Made for the working or aspiring jazz professional, lead sheets from Mark Wayne Music, LLC are ideal for use on gigs. The lead sheets are free of eye clutter and can easily be read at a glance. All songs up to 40 measures in length are on 1 page with repeats and endings being avoided whenever possible. Other features include: 18 pt font for chord symbols - clef (treble) and key signature on the first line only 4 measure phrase per line - melody written in simple rhythms (the player is left to swing it) Left bar lines -heavy left bar lines that infer the song form (AABA-heavy bar line at B and last A, ABAC-heavy bar line at second A) Primary sources consulted and current performance practices considered for the arrangement Common performance keys included with each title, each key having its own page. Visit us at markwaynemusic.com
$4.99
That Old Black Magic - Trumpet 1
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Trumpet (band part)
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INTERMEDIATE
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Jazz
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Harold Arlen and Johnny Mercer
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Mark Taylor
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That Old Black Magic - Trumpet
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Hal Leonard - Digital
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SheetMusicPlus
Jazz band Trumpet 1 - Level 3-4 - Digital Download SKU: HX.159874 Composed by Harold Arlen and Johnny Mercer. Arranged by Mark Taylor. Jazz. Individual i...
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Jazz band Trumpet 1 - Level 3-4 - Digital Download SKU: HX.159874 Composed by Harold Arlen and Johnny Mercer. Arranged by Mark Taylor. Jazz. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.159874).
$6.00
That Old Black Magic
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Melody line, (Lyrics) and Chords
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Jazz
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That Old Black Magic
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Hal Leonard - Digital
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SheetMusicPlus
C Instrument,Guitar,Piano and Keyboard,Vocal - Interactive Download SKU: HX.457090 This edition: Interactive Download,scorch. Jazz,Standards. Lead Sheet ...
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C Instrument,Guitar,Piano and Keyboard,Vocal - Interactive Download SKU: HX.457090 This edition: Interactive Download,scorch. Jazz,Standards. Lead Sheet / Fake Book. 1 pages. Hal Leonard - Digital #822311. Published by Hal Leonard - Digital (HX.457090).
$3.99
That Old Black Magic (arr. Mike Tomaro) - Tenor Sax 1
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Saxophone (band part)
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ADVANCED
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Jazz
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Mike Tomaro
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That Old Black Magic
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493749 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 3 pages. Hal L...
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493749 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 3 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.493749).
$6.00
That Old Black Magic (arr. Mike Tomaro) - Alto Sax 1
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Saxophone (band part)
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ADVANCED
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Jazz
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Mike Tomaro
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That Old Black Magic
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493747 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 3 pages. Hal L...
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493747 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 3 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.493747).
$6.00
That Old Black Magic (arr. Mike Tomaro) - Trumpet 1
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Trumpet (band part)
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ADVANCED
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Jazz
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Mike Tomaro
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That Old Black Magic
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493752 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 2 pages. Hal L...
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: HX.493752 Arranged by Mike Tomaro. This edition: scorch. Jazz,Pop,Standards. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.493752).
$6.00
Hommages and Prelude No. 1
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Piano solo
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ADVANCED
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Classical
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David Fraser
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Hommages and Prelude No. 1
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David Fraser
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 178 pages. ...
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Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 178 pages. David Fraser #968350. Published by David Fraser (A0.1383996). This volume contains five solo piano pieces expertly crafted and meticulously edited for accuracy. Advanced pianists will welcome the technical challenges and heights of musicality these works require. Music terminology for â??Le Cygne noirâ?? and â??L'océanâ?? are in French, with regard to the dedications of these pieces. All other works use conventional music terminology in Italian. 178 pages. ISMN 979-0-800277-00-9.David Fraser wrote the first 41 measures of â??Rhapsody No. 1â?? in 1997 and subsequently completed this piece and all other works in this volume over the course of six months in 2019. When playing the original 41 measures of â??Rhapsody No. 1â?? in 2019, Fraser noted that the music had some resemblance to works by Sergei Rachmaninoff. This encouraged Fraser to compose the remainder of this piece in a manner reminiscent of Rachmaninoff and, consequently, author a suite of solo piano pieces as homages to some of his favorite composers. In Rachmaninoffâ??s famous â??Rhapsody on a Theme of Paganini, Op. 43â??, variation 18, the composer uses an upside-down inversion of a small melody by Paganini. Similarly, Fraser uses a backwards inversion of a small melody from Rachmaninoffâ??s variation for the Rhapsodyâ??s â??Adagioâ? section, which starts on Page 3.Le Cynge noir {The Black Swan} is the second piece Fraser authored, dedicated to his beloved piano composer, Maurice Ravel. In this piece, Fraser wrote in his own style while evoking images such as a swan gliding on a lake, peering at its reflection in the water, and taking flight into the clouds with its wings rustling in the wind. Fraser gleaned inspiration for this piece from Ravelâ??s song for voice and piano â??Histoires naturelles - Le cygneâ??, set to a poem by Jules Renard. In addition, Fraser alternates between the keys of C-sharp major and A major as a depiction of the magical swanâ??s internal conflict in choosing to exist as a black or white swan.Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?, to the notoriously difficult â??colossaleâ? section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. The fourth piece of this suite, â??L'océan {The Ocean}â?? dedicated to Claude Debussy, uses whole-tone scales throughout as lyrical motifs. The composition unfolds with the allusion of the sun glimmering on ocean waves, followed by the playfulness of eddies and gusts of wind. These themes merge into one another as the wind increases in ferocity, culminating in the start of a storm with sudden strikes of lightning preceded by the reverberation of thunder. The pitter-patter of rain on the water steadily evolves into a full tempest that engulfs the middle section of the piece. As the storm subsides and the ocean calms, night has fallen and the twinkling of stars in the firmament are reflecting upon the water. The piece ends with the return of the opening theme as the sun swiftly rises above the ocean on the horizon.Prelude No. 1 L'adieu {The Farewell} offers rich and lush harmonies with an enticing melody. This piece was written in memoriam to Fraser's mother.
$29.99
That Old Black Magic - Tenor Sax 1
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Saxophone (band part)
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Jazz
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Harold Arlen and Johnny Mercer
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Mark Taylor
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That Old Black Magic - Tenor S
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Composed by Harold Arlen and Johnny Mercer. Arranged by Mark Taylor. For jazz band. Jazz. Jazz Band. 3 pages. Published by Hal Leonard - Digital Sheet Music ...
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Composed by Harold Arlen and Johnny Mercer. Arranged by Mark Taylor. For jazz band. Jazz. Jazz Band. 3 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
That Old Black Magic - Alto Sax 1
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Saxophone (band part)
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Jazz
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That Old Black Magic - Alto Sa
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Jazz. Individual instrument part. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.159869). - individual instrument part - Jazz - Hal Leonard - Digit...
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Jazz. Individual instrument part. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.159869). - individual instrument part - Jazz - Hal Leonard - Digital Sheet Music
$6.00
Requiem
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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
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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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
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