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The End of Time - Drumline Cadence
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The End of Time - Drumline Cadence
Sheetmusic to print
68 sheet music found
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51
The Spirit of the Lord - for Cantor and Congregation
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Organ
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INTERMEDIATE
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Dr
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Dr
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The Spirit of the Lord - for C
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School Sisters of St. Francis
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SheetMusicPlus
Organ - Level 3 - Digital Download SKU: A0.1406728 By Dr. Sheri L. Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th C...
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Organ - Level 3 - Digital Download SKU: A0.1406728 By Dr. Sheri L. Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Religious,Sacred. Score. 7 pages. School Sisters of St. Francis #989483. Published by School Sisters of St. Francis (A0.1406728). “The Spirit of the Lord† Sr. Theophane Hytrek OSFDedicated to Robert Verwoert on the occasion of his ordination to the priesthood — May 1971Sr. Theophane Hytrek OSF earned her PhD in composition from the University of Rochester (Eastman School of Music) in 1955.  She is known for a variety of compositional genres, e.g. keyboard (organ and piano), voice, and orchestra. Compositions for voice include masses, responses, psalm settings, hymns for congregation, choral music and solos.TEXT:The Spirit of the Lord is upon us. Send your Spirit upon us in this time and place, the Spirit who gives us comfort, the Spirit who brings light to our eyes, the Spirit who helps us say yes to your summoning Word.Bless us, Father, as you have done before, with the gift of your Spirit that he may stir new life within us.Blest are you in ev'rything that your Spirit makes new, now and for all ages to come.The source of this text is unknown. Though appropriate for Pentecost there is no direct connection to the scripture readings or sacramentary prayers for that Feast. The composition was written in the early years succeeding Vatican II (October 11, 1962 – December 8, 1965), a time of creative freedom. The language is period specific to that time, yet the music is universal.Rehearsal recommendation:The verse text is notated in consistent eighth-notes. Do not interpret this to mean that all syllables are to receive equal time.  Speak the text in natural cadence and then sing the pitches in that same natural cadence.  This will best represent Sr. Theophane’s intention.We invite you to browse other creative works by the School Sisters of St. Francis on our website:  https://www.sssf.org/SSSF/Our-Global-Impact/United-States/Music-Ministry/Catalog-of-Music.htm  Further information about our offerings is available from Dr. Sheri Masiakowski, curator of the Heritage Music Collection, at smasiakowski@sssf.org.
$4.99
Come, Thou Fount of Every Blessing - For String Orchestra
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Contemporary
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John Wyeth, Robert Robinson
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Andrew
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Come, Thou Fount of Every Bles
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Richard Sheldon
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1028587 Composed by John Wyeth, Robert Robinson. Arrang...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1028587 Composed by John Wyeth, Robert Robinson. Arranged by Andrew. 20th Century. Score and parts. 8 pages. Richard Sheldon #3585357. Published by Richard Sheldon (A0.1028587). Come, Thou Fount of Every Blessing is a longtime favorite of both religious and secular peoples across the world today. It is a very musical work that has stood the test of time because of how the reverent tone of the song is conveyed in the text, harmony, and melody. In this arrangement, a peaceful 5th is expanded into a majestic series of descending chords until there's a pause before the song begins with a quiet viola/cello soli. The song grows and grows changing, folding, and contorting until the whole group sweeps into the final verse, where the song quiets down and ends with a soft minor plagal cadence. This requires both musicianship and skill to master. The band must play as an ensemble and make music, not just play music.Happy Playing!
$14.99
Come, Thou Fount of Every Blessing - For Concert Band
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Concert band
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INTERMEDIATE
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Contemporary
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John Wyeth, Robert Robinson
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Andrew
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Come, Thou Fount of Every Bles
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Richard Sheldon
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1028586 Composed by John Wyeth, Robert Robinson. Arranged by Andrew. 20th Century. Score and parts. 31 ...
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Concert Band - Level 3 - Digital Download SKU: A0.1028586 Composed by John Wyeth, Robert Robinson. Arranged by Andrew. 20th Century. Score and parts. 31 pages. Richard Sheldon #3585341. Published by Richard Sheldon (A0.1028586). Come, Thou Fount of Every Blessing is a longtime favorite of both religious and secular peoples across the world today. It is a very musical work that has stood the test of time because of how the reverent tone of the song is conveyed in the text, harmony, and melody. In this arrangement, a peaceful 5th is expanded into a majestic series of descending chords until there's a pause before the song begins with quite woodwinds. The song grows and grows changing, folding, and contorting until the whole band sweeps into the final verse, where the song quiets down and ends with a soft minor plagal cadence. This requires both musicianship and skill to master. The band must play as an ensemble and make music, not just play music.Happy Playing!
$54.99
Brother James' Air — brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Sacred music
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J
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Todd Marchand
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Brother James' Air — brass q
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Con Spirito Music
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1261270 Composed by J.L. Macbeth Bain. Arranged by Todd Marchand. 19th Cent...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1261270 Composed by J.L. Macbeth Bain. Arranged by Todd Marchand. 19th Century,Christian,Folk,Sacred,Traditional. 16 pages. Con Spirito Music #854340. Published by Con Spirito Music (A0.1261270). Brother James' Air was composed by James Leith Macbeth Bain (1860-1925), a Scottish-born poet, author, mystic, and healer whose ministry took him to Liverpool and London, where he became known simply as Brother James. The tune is often sung to the metrical paraphrase of Psalm 23, The Lord's My Shepherd, by the Puritan religious author and English politician Francis Rous (c. 1581-1659), published in his The Psalms of David set forth in English meeter (1643). The angular, highly arpeggiated tune in bar form (AAB) is both stark and lovely, rising and falling before ascending to a high tonic cadence in its final phrase. Its harmonic simplicity — consisting primarily of I, IV, and V chords — lends itself to alternate harmonizations with substitute chords. Following a short introduction, this arrangement presents the tune four times: first, alternating between the two trumpets; second, by trio of horn, trombone, and tuba; third, in minor tonality (reflecting the psalm's verse 4 and the text's paraphrase, Yea, though I walk thro' death’s dark vale); and fourth, with powerful extended harmonies and surprise cadences resolving to a quiet, peaceful conclusion.  ©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com
$15.00
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
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Choral SATB
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INTERMEDIATE
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Sacred music
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Michael A
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THE ICON OF THE INVISIBLE GOD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M.A. Morizio (A0.926661). In the first chapter of Paul’s letter to the Colossians, we discover the next known Hymn to Christ right after his introductory passages, beginning at the 15th verse. Paul opens this letter with a blessing, then immediately flows to one of the 1st century hymns, which I have called, The Icon of the Invisible God. The lyrics of this hymn are declarative, bold and illuminating as to whom the Christ figure is-the icon, the very image of the invisible God, the firstborn of all creation. The text makes it abundantly clear that Jesus is the authority; that He was there before all things, that He created all things, and that through Him all things hold together. This anthem is composed for SATB choir with Pipe Organ accompaniment. The meter is set to 6/8 time, with a rhythm tempo of Totally Alive; which is one actual definition of the word Holy. The anthem starts at a good clip (♪=100). The key is G Major, with an incidental and occasional flatted 5th (Dâ™) as a surprise-landing befitting to the text presented, as if to say, This is so amazing, how can it be? The flatted 5th gives the piece it's own identity and causes the listener to stand up and take notice whenever it occurs. When the hymn's lyrics glide into the all-important resolution, having made peace through the blood of the cross, the song retards and lands on a surprising musical cadence, the sixth chord (E Major). In this piece, the pipe organ is boldly featured as it supports and under girds the musical line, occasionally trumpeting its own victorious motifs and adding some contrapuntal elements, such as this duplet motif, in the pedal line. The final lyrics about Christ having reconciled everything to Himself, whether things on the earth or in the heavens, finish the piece with a great, ‘High-Church’ choral ending.
$1.99
Jesus The Very Thought of Thee | Easy Organ Solo for Religious Settings
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Organ
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BEGINNER
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Sacred music
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Bernard of Clairvaux, 1091-115
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Jake Hershberger
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Jesus The Very Thought of Thee
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Jasberger Music
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SheetMusicPlus
Organ - Level 1 - Digital Download SKU: A0.1314933 By Bernard of Clairvaux, 1091-1153. By John B. Dykes, 1823-1876. Arranged by Jake Hershberger. Christi...
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Organ - Level 1 - Digital Download SKU: A0.1314933 By Bernard of Clairvaux, 1091-1153. By John B. Dykes, 1823-1876. Arranged by Jake Hershberger. Christian,Classical,Praise & Worship,Religious,Sacred. Score. 5 pages. Jasberger Music #903673. Published by Jasberger Music (A0.1314933). Indulge in the exquisite harmonies of 'Jesus the Very Thought of Thee,' a meticulously crafted organ meditation by the talented Jacob Hershberger. Tailored for organ enthusiasts of all levels, this arrangement stands as a testament to the hymn's profound beauty. Its gentle cadence and soul-soothing melodies create a transformative musical experience, making it an essential addition to your repertoire.Immerse yourself in the ethereal atmosphere this arrangement evokes, designed to elevate your worship services, meditation sessions, or moments of personal reflection. Jacob Hershberger's rendition captures the essence of this beloved hymn, offering a unique perspective that sets it apart from the ordinary. The artistry of this piece lies in its ability to seamlessly blend tradition with innovation, resulting in an easy yet enchanting LDS organ prelude.Step into the captivating world of 'Jesus the Very Thought of Thee,' and let the music guide your soul. Experience the divine resonance that this arrangement brings to your fingertips, allowing you to express your musicality effortlessly. With its timeless appeal and effortless playability, this piece is more than just sheet music—it's a transformative journey waiting to unfold under your fingertips.Delight in the serenity of this organ meditation, a masterpiece that transcends the ordinary and resonates with the spirit. Elevate your musical expression and infuse your performances with the power of this enchanting arrangement. Discover the magic of music anew with Jacob Hershberger's rendition of 'Jesus the Very Thought of Thee.'🎹 Artist: Jacob Hershberger 🎶 Album: Restoration Hymns from the Church of Jesus Christ of Latter-day Saints📅 Released: April 1, 2023 🔗 Stream on Spotify, Apple Music, and more: 🎥 Watch on YouTube: https://www.youtube.com/watch?v=XArBlrm6Rew.
$4.95
Monteverdi - The Seventh Book of Madrigals (1619) - 33. Tirsi e Clori
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Classical
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Seventh Book
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble E-Flat Tuba TC,Euphonium,Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.767368 Composed by Claudio Monteverdi. Arranged by Mik...
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Brass Ensemble E-Flat Tuba TC,Euphonium,Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.767368 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 77 pages. Lyons Music Services #3557567. Published by Lyons Music Services (A0.767368). At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.This section of the 7th book is really a miniature scena (although Monteverdi describes it as a ballet), telling the story of Tirsi and Clori (Thyrsis and Chloris) two lovers from ancient greek myths. This piece is the final section of Tirsi e Clori, which Monteverdi describes as the Ballo (Dance) where all the characters in the story provide a spectacle of celebration at the end of the performance. There is a short (12 measure) section forming an introduction at a slow tempo, followed by a 1-in-a-bar dance, a change occurs at measure 113 to simple duple time before returning to a rousing reprise of the lively 3/2 music. The whole is brought to a rousing conclusion with a long cadence in what is rapidly approaching the Baroque style.The instruments are divided between two 'choirs' a 5-part one, representing the singers (Cantus,Quintus, Alto, Tenor and Bass) and a four part accompanying group representing the continuo. There is also an optional percussion part, as the original would have been so accompanied, even though it was not notated in the score.At just over 8 minutes in length, this is a great finisher for a concert - or, in the right circumstances, a starter - especially as Monteverdi has made the ending very loud and full.The seventh book has been a challenge. The much more intricate music, showing Monteverdi's development towards a true operatic technique requires a really careful study of his orchestrations. It has been a great pleasure to set this music and I hope lots of ensembles will 'give it a go'!
$12.99
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitar notes and tablatures
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INTERMEDIATE
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Classical
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,C...
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Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
The Bird Song - piano solo
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Piano solo
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INTERMEDIATE
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Classical
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Carrie Jacobs-Bond
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Phil Beaman
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The Bird Song - piano solo
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Phil Beaman
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1192066 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical. Score. 1 pages. Phil Beaman #...
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Piano Solo - Level 3 - Digital Download SKU: A0.1192066 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical. Score. 1 pages. Phil Beaman #791565. Published by Phil Beaman (A0.1192066). The Bird Song is a piano solo arrangement of the 1899 hit pop song by Carrie Jacobs-Bond, which was originally a ballad for voice and piano. Â This is mostly a new composition inspired by the Jacobs-Bond piece. Â I took the tune's 8-bar vocal melody and changed several of the notes then put it in the Left Hand. Â In the Right Hand I created twittering birds. Â The ending section elongates the final cadence into a dozen measures of twittering and posturing, followed by a Coda in a new Time Signature of rest and twittered farewells. Â This makes a simple, delightful, lilting dance. Â 1 page score; 1:20 minutesThis piece is also found in my book, Carrie Jacobs-Bond, Popular Songs 1900-1925, a collection of 51 of her songs I have arranged for piano solo, which is also available on this site.
$1.99
La Balançoire (The Swing)
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Piano solo
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INTERMEDIATE
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Contemporary
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Han Keuper
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La Balançoire
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Myriad Dreams Media
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.497969 Composed by Han Keuper. Classical,Contemporary. Score. 6 pages. Myriad Dreams Media #111310. Publi...
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Piano Solo - Level 3 - Digital Download SKU: A0.497969 Composed by Han Keuper. Classical,Contemporary. Score. 6 pages. Myriad Dreams Media #111310. Published by Myriad Dreams Media (A0.497969). Inspired by endless hours he spent as a kid on the swing at his grandparents’ house and a slight touch of French chansons, composer Han Keuper captured in La Balançoire the cadence and rhythm of swinging back and forth in a world full of possibilities, a time full of fantasies, and a life on the wings of the future.
$3.99
We Gather Together, Duet for Flute and Clarinet
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Flute, Clarinet (duet)
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EASY
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Eduard Kremser
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Nigel Williams
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We Gather Together, Duet for F
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Nigel Williams
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SheetMusicPlus
Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 2 - Digital Download SKU: A0.763564 Composed by Eduard Kremser. Arranged by Nigel Williams. Fo...
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Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 2 - Digital Download SKU: A0.763564 Composed by Eduard Kremser. Arranged by Nigel Williams. Folk,Holiday,Instructional,Sacred,Standards. Score and parts. 6 pages. Nigel Williams #6058995. Published by Nigel Williams (A0.763564). This arrangement is ideal in church services at any time during the year, and especially during Thanksgiving. It is also great repertoire for High School wind players. The hemiola rhythm in measures 43-46 provides an interesting platform for the final extended cadence. The full score has both individual parts attached, and each part fits conveniently on one page. Enjoy browsing my extensive selection of duets, trios and quartets available on SMP.
$3.99
We Gather Together, for Flute Duet
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2 Flutes (duet)
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EASY
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Eduard Kremser
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Nigel Williams
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We Gather Together, for Flute
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Nigel Williams
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SheetMusicPlus
Flute Duet Flute - Level 2 - Digital Download SKU: A0.763565 Composed by Eduard Kremser. Arranged by Nigel Williams. Folk,Holiday,Instructional,Sacred,St...
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.763565 Composed by Eduard Kremser. Arranged by Nigel Williams. Folk,Holiday,Instructional,Sacred,Standards. Score. 6 pages. Nigel Williams #6062249. Published by Nigel Williams (A0.763565). This arrangement is ideal in church services at any time during the year, and especially during Thanksgiving. It is also great repertoire for High School wind players. The hemiola rhythm in measures 43-46 provides an interesting platform for the final extended cadence. The full score has both individual parts attached, and each part fits conveniently on one page. Enjoy browsing my extensive selection of duets, trios and quartets available on SMP.
$3.99
We Gather Together, for Violin Duet
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2 Violins (duet)
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INTERMEDIATE
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Eduard Kremser
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Nigel Williams
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We Gather Together, for Violin
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Nigel Williams
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SheetMusicPlus
Violin Duet Violin - Level 3 - Digital Download SKU: A0.763567 Composed by Eduard Kremser. Arranged by Nigel Williams. Folk,Holiday,Instructional,Sacred,...
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.763567 Composed by Eduard Kremser. Arranged by Nigel Williams. Folk,Holiday,Instructional,Sacred,Standards. 6 pages. Nigel Williams #6062597. Published by Nigel Williams (A0.763567). This arrangement is ideal in church services at any time during the year, and especially during Thanksgiving. It is also great repertoire for High School string players. The hemiola rhythm in measures 43-46 provides an interesting platform for the final extended cadence. The full score has both individual parts attached, and each part fits conveniently on one page. Enjoy browsing my extensive selection of duets, trios and quartets available on SMP.
$3.99
Colores de un otoño incipiente
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Piano solo
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INTERMEDIATE
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Juan MarÃa Solare
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clipboard-write
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Colores de un otoño incipient
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Juan Maria Solare
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructiona...
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Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 15 pages. Juan Maria Solare #350886. Published by Juan Maria Solare (A0.742752). Colores de un otoño incipiente -- Colors of an incipient autumn seven somewhat abstract pieces for piano Recording of Colores de un otoño incipiente - piano in several platforms Colores de un otoño incipiente -- on Spotify In this work, an idea that has haunted me for a long time crystallizes: that the titles of the individual pieces are read like lines of a poem. Colores de un otoño incipiente Declina el dÃa. Cobriza de hojarasca, la tierra aguarda. Inocencia Apergaminada por las largas vigilias. Frugal ante la desmesura, Se resignó a lo inconcluso Y dejó un hueco de luz en esta nada. Colors of an incipient autumn The day declines. Coppery with old leaves, the earth awaits. Innocence Parched by the long vigils. Frugal in the face of excess, He resigned himself to the unfinished And he left a hole of light in this nothingness. Such a poem alludes without great subtlety to decadence and aging. The title Apergaminada por las largas vigilias is taken from a poem by Pedro Lastra. Y dejó un hueco de luz en esta nada comes from a micropoem attributed to Alejandro Güerri, written in memory of Javier Adúriz. This seventh piece, transparent and delicate, pictures a being definitively transformed into light. The idea of desmesura (excess) arises from the prologue by Javier Adúriz to his book Solos de conciencia (1985): Faced with the excess of death, consciousness perceives the weakness of its willful affirmation, the one for which it feels itself unique and safe from all decrepitude. Adúriz was one of the fundamental figures in my artistic training. And apparently he still is. Musically, this cycle of works abounds in harmony of chords by fourths in a minimalist neoclassical aesthetic. The way of working texturally with the piano as an instrument - my instrument - highlights the pedal, the resonances, the third dimension of sound. These seven somewhat abstract pieces were composed at the end of 2019 in and around Bremen, in several cases with my new-born daughter Laura in my arms, trying to put her at to sleep and staying asleep. This explains the cautious nature of the music and its prudent dynamics that never reach a mezzoforte. There were several unsuccessful attempts to release this recording (initially planned for September 2020, at the beginning of autumn in the northern hemisphere). Finally, the album will be released (on Spotify and other streaming platforms) on 22 April 2022, coinciding with what would be my father's 103rd birthday. It is also autumn but in the southern hemisphere. Recorded on a Steinway B grand piano (serial number: 568208) at the Musikschule Bremen (Germany) with two Neumann KM-184 microphones. Recording and mastering technician: Alexander Derben. For the artwork, the impressive photographer and visual storyteller Leon Drago, from London, has kindly authorised the use of his photograph Pathway, The Garden House and Pergola, Hampstead Heath extension, London. The recording of Colores de un otoño incipiente (with the composer on piano) can be found here: Colores de un otoño incipiente - piano
$5.00
Unaccompanied Tuba Suite #1 in B-flat Major
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Tuba
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INTERMEDIATE
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Jason Allie
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Unaccompanied Tuba Suite #1 in
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Joaba LLC
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SheetMusicPlus
Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC ...
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Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC #3109629. Published by Joaba LLC (A0.991803). DescriptionA delightful, intermediate level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This lively work engages the audience with a breadth of moods from enlightening to reflective to celebratory. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com.Total Duration: ~8 minutesPerformance Notes Prelude The real art of performing this piece is to master its dynamics. With the long pianissimo to forte crescendo at the introduction, the contrasting forte/mezzo piano sections and brisk, shorter crescendos for the cadences, the tubist must be aware of dynamics at all time and use them wisely.The second aspect to performing this piece is to contrast the 2 eighth note plus quarter note slurs motif against the arpeggiations. The introduction starts with the slurs and evolves into the arpeggiations by the first forte and the remaining piece explores the contrast between the two. Performers should feel free to try different dynamics, try different tempos (like zipping through the arpeggiations and slowing for the motif), etc. The goal is to bring the listener through the pleasantries of introductions to feel fresh and eager for further discourse ahead. March The rewarding challenge in this piece is to bring out the difference between cheery and con brio. The former being achieved by emphasizing the swaggering, strutting feel of the one-measure-per-beat feel and the latter by emphasizing the intervallic bounciness with the one-two march feel.Note that the motif (with the quarter note morphing into an eighth note) along with simpler arpeggiations are brought to play in a new manner reinforcing the positive mood from the prelude.The goal is to befriend the listener with an engaging, buoyant time. Air The tubist will exercise great breath control and phrasing to achieve a sublime solemnness counterbalancing the prior two movements.The motif now takes center stage headlining the main melodic phrases; however, here it is disjointed and conveys the sighing for the solemnness.After the pleasantness of the march, affableness having garnered friendship, we now open ourselves to share some somber matters and offer consolation. The intended goal here is to add depth to the relationship by addressing darker aspects in the discourse. Slip-jig Rondo Harking back to the compound meter of the prelude, this dance adventurously wakens the listener from the solemnness of the air asserting a new grandness and gladness. This is a slip-jig put into the rondo form so celebrate the main dance theme when it comes around and put fire and character into the transitions to make it worthwhile.The motif now jumps into the compound meter’s beat and morphs into three slurred, conjoint eighth notes. Now this motif enables several affects: exciting dance steps, transitions/modulations and concluding the phrases and the piece itself.The performer should aim to lead and amaze the listener with the waltz-like slip-jig rhythm and astound with the virtuosic transitions as a final send-off.
$9.99
Sonata Hymnica No. 6
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. Jam...
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
Bless the Lord, My Soul!
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Choral SATB
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Sacred music
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Dan Edwards
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Bless the Lord, My Soul!
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Chorister's Guild - Digital
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SheetMusicPlus
SATB chorus - Digital Download SKU: C7.CGA1118 Composed by Dan Edwards. General. Mixed Voices. With Maracas,Tamb,Claves,Bongo. Sacred Anthem. Octavo. 16 ...
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SATB chorus - Digital Download SKU: C7.CGA1118 Composed by Dan Edwards. General. Mixed Voices. With Maracas,Tamb,Claves,Bongo. Sacred Anthem. Octavo. 16 pages. Chorister's Guild - Digital #CGA1118. Published by Chorister's Guild - Digital (C7.CGA1118). UPC: 749193012734.Based on Psalm 103:1, this exuberant anthem will add energy and vitality to any service of worship and praise. The snappy melody accompanied by piano and a group of lively percussion instruments explodes with rhythmic enthusiasm that any youth choir or ensemble of mixed voices will love to sing. The anthem's middle section features an optional a cappella section that begins with bass voices and maracas. Additional voices and instruments soon enter one at a time building to a climatic cadence that propels the piece to a powerful, memorable ending.
$1.95
Thine Is the Glory - Reproducible Brass Parts
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Classical
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George Frideric Handel and Mar
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George Frideric Handel and Mar
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Thine Is the Glory - Reproduci
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Chorister's Guild - Digital
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SheetMusicPlus
Brass Choir - Digital Download SKU: C7.CGRP10 Composed by George Frideric Handel and Margaret R Tucker. Arranged by George Frideric Handel and Margaret R...
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Brass Choir - Digital Download SKU: C7.CGRP10 Composed by George Frideric Handel and Margaret R Tucker. Arranged by George Frideric Handel and Margaret R Tucker. E,g. Set of parts. 16 pages. Chorister's Guild - Digital #CGRP10. Published by Chorister's Guild - Digital (C7.CGRP10). UPC: 749193009062.Based on Psalm 103:1, this exuberant anthem will add energy and vitality to any service of worship and praise. The snappy melody accompanied by piano and a group of lively percussion instruments explodes with rhythmic enthusiasm that any youth choir or ensemble of mixed voices will love to sing. The anthem's middle section features an optional a cappella section that begins with bass voices and maracas. Additional voices and instruments soon enter one at a time building to a climatic cadence that propels the piece to a powerful, memorable ending.
$19.95
Bless the Lord, My Soul! - Reproducible Inst. Parts
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Dan Edwards
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Bless the Lord, My Soul! - Rep
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Chorister's Guild - Digital
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SheetMusicPlus
Maracas,Tamb,Claves,Bongo - Digital Download SKU: C7.CGRP19 Composed by Dan Edwards. Mixed Voices. Set of parts. 8 pages. Chorister's Guild - Digital #CG...
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Maracas,Tamb,Claves,Bongo - Digital Download SKU: C7.CGRP19 Composed by Dan Edwards. Mixed Voices. Set of parts. 8 pages. Chorister's Guild - Digital #CGRP19. Published by Chorister's Guild - Digital (C7.CGRP19). UPC: 749193012741.Based on Psalm 103:1, this exuberant anthem will add energy and vitality to any service of worship and praise. The snappy melody accompanied by piano and a group of lively percussion instruments explodes with rhythmic enthusiasm that any youth choir or ensemble of mixed voices will love to sing. The anthem's middle section features an optional a cappella section that begins with bass voices and maracas. Additional voices and instruments soon enter one at a time building to a climatic cadence that propels the piece to a powerful, memorable ending.
$15.95
I'll Be a Friend to Jesus
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J
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I'll Be a Friend to Jesus
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J. Randolph Hall
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 1 - Interactive Download SKU: A0.1088060 By ... Arranged by J. Randolph Hall. This edition: Interactive...
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 1 - Interactive Download SKU: A0.1088060 By ... Arranged by J. Randolph Hall. This edition: Interactive Download. Country,Folk,Praise & Worship,Standards,World. Score and parts. 7 pages. Duration 51. J. Randolph Hall #1Ov2B5pbcfaoiDsq0oaD3O. Published by J. Randolph Hall (A0.1088060). Key: Eb major.Dennis was a hymnist from Lebanon, Missouri in the late 19th Century. His music was used with Johnson Oatman for this lively old time gospel song. The second ending uses a deceptive cadence, followed by the final resolution of I-V7-I.
$4.00
Eternal Love
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Piano solo
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INTERMEDIATE
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Classical
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Jose Valladares
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Jose Valladares
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Eternal Love
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Circlesquare Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1368417 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. Classical. Score. 5 pages. C...
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Piano Solo - Level 3 - Digital Download SKU: A0.1368417 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. Classical. Score. 5 pages. Circlesquare Music #952764. Published by Circlesquare Music (A0.1368417). Introducing Eternal Love, a deeply moving piano composition that embodies the timeless essence and profound depth of love that endures through the ages. This heart-stirring piece, from the acclaimed album A Celebration of Love, and Life by the esteemed artist and composer Jose Valladares, is a tender ode to the unbreakable bonds and enduring promises of love.With a gentle tempo of 65, Eternal Love unfolds like a delicate blossom, revealing layer after layer of emotional depth and soulful expression. The composition is a heartfelt journey through the landscapes of affection and devotion, capturing the quiet strength and unwavering certainty that characterize love in its most enduring form. Each note resonates with the warmth of a cherished embrace, the whisper of a lover's promise, and the soft cadence of heartbeats in perfect harmony.Eternal Love is more than a musical piece; it's a narrative of affection that transcends time and space. It invites listeners to immerse themselves in the profound beauty of love that knows no bounds, to reconnect with memories of heartfelt moments, and to cherish the bonds that grow stronger with each passing day. This composition is perfect for those who wish to celebrate love, for pianists seeking to convey the depth of their emotions through the keys, and for anyone who believes in the enduring power of love.Let Eternal Love serenade you with its tender melody, enveloping you in the warmth and beauty of a love that lasts a lifetime and beyond. This piece is an eternal testament to the most cherished of human connections, a soothing balm for the soul, and a celebration of love's everlasting light.
$8.99
Sonata for piano
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Piano solo
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ADVANCED
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Contemporary
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William Grosvenor Neil
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Sonata for piano
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1320814 Composed by William Grosvenor Neil. 20th Century,Classical. Score. 41 pages. TheComposerStudio.Co...
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Piano Solo - Level 5 - Digital Download SKU: A0.1320814 Composed by William Grosvenor Neil. 20th Century,Classical. Score. 41 pages. TheComposerStudio.Com, LLC #909259. Published by TheComposerStudio.Com, LLC (A0.1320814). Movement I. Light by the Beauty of MusicThis movement opens with a driving energy that does not diminish until the final passages.  The opening theme continues to cycle over accenting sonorities in counterpoint with a 2nd theme that spins forth in perpetual motion.  From here emerges a pair of folk themes in tandem. I quote the Romanian folk song:  On the Freedom Plains along with a counter theme that I composed in a minor mode. I want to thank my Moldovian friend, Natalia Rojcovscaia-Tumaha for inspiring the inclusion of this quote in this movement. This basic cry for freedom among people that have identified with a country where generations have lived and died was the sentiment that I wanted to capture in this music. The movement ends with an unresolved flourish that slowly dies away suggesting the mysterious uncertain nature of music. Movement II. DeliquesceThe second movement is a simple song-like narrative that speaks in short rhythmic open phrases. The music progression in variation form.  All the while, a spinning thread of notes orbits this narrative, eventually cascading into a perpetual motif that ends suspended in space.Movement III.  Light Upon WaterThe third movement continues the perpetual motion of the second movement and transforms into a running tapestry of harmonic statements that build to a euphoric choral declaration.  After a reflective, improvisatory middle section, the cascading perpetual motion of the opening returns. The conclusion of the movement is signaled by what I call a crossing cadence:  the theme in full chordal orchestration is accelerando in the right hand and is retrograde, ritardando in the left hand.  Finally, a short coda finishes the sonata.  © 2022 William Grosvenor Neil  williamneil.net   thecomposerstudio.com  support: thecomposerstudio@gmail.com.
$20.00
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - symphonic wind
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Classical
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D minor K62
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1111159 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. ...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1111159 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 16 pages. RayThompsonMusic #713434. Published by RayThompsonMusic (A0.1111159). Arranged standard wind decet/dectet/bass Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♠major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the first horn, and the vocal entries are given to the 4 wind instruments (All Player 1) I have added some additional sustaining notes on the horns, under the syncorpated section. Section III of the requiem is titled “Sequenz†(sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa I have also arranged Mozarts Motet “Ave Verum Corpus†K618.
$9.95
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Classical
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D minor K62
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RayThompsonMusic
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Christian,Classica...
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Christian,Classical,Religious,Sacred. 10 pages. RayThompsonMusic #714140. Published by RayThompsonMusic (A0.1111962). Arranged standard brass quintet Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♠major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the horn, and the vocal entries are given to the trombone, horn and two trumpets. . Section III of the requiem is titled “Sequenz†(sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa. I have also arranged Mozarts Motet “Ave Verum Corpus†K618.
$4.95
I Believe In Dog
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Orchestra
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INTERMEDIATE/ADVANCED
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Rob Birdwell
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I Believe In Dog
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Birdwell Music LLC
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1004946 Composed by Rob Birdwell. Contemporary,Film/TV,Pop,World. Score and parts. 57 pages. Birdwell...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1004946 Composed by Rob Birdwell. Contemporary,Film/TV,Pop,World. Score and parts. 57 pages. Birdwell Music LLC #4634031. Published by Birdwell Music LLC (A0.1004946). Full symphonic underscore for a poem dedicated to all Dogs in the world. It's a sentimental offering, but one intended to raise awareness of the need to support organizations that shelter and care for animals in order to find them homes where they can live long, happy and healthy lives.The musical underscore starts off dramatic but soon becomes more atmospheric to underscore the poem. The poem is timed somewhat to the music, however, each reader will offer their own interpretation and cadence to fit within the overall fabric of the music. The score is particularly suited for professional orchestras especially since it calls for two harpists and a full compliment of strings, winds, and brass, and a variety of interesting percussion. Everything about the score is intended to underscore the poem reader, so dynamics are generally soft and the score will work and sound great even with orchestras lacking some of the instrumentation.Portions of all proceeds from sales of this score will be donated to charities supporting the care of Dogs, Cats, and other animals and it is the composer's/poet's wish that live performances will make the most of the symphonic hall setting to encourage others to donate generously to organizations that promote animal well-being.
$75.00
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