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The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.35 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.15 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
Side By Side
Choral Unison
Unison/2-part choir - Digital Download SKU: LX.CS833 A musical that brings toget…
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Unison/2-part choir - Digital Download SKU: LX.CS833 A musical that brings together Senior Adults and Young Voices. Composed by Various. Arranged by Sheldon Curry. Choral Cantatas. 56 pages. Laurel Press #eCS833. Published by Laurel Press (LX.CS833). UPC: 000308022728. Text: Doris Simpson.This musical is an outgrowth of our experience and involvement in the Senior Adult and Children's ministry of our church. We discovered the magic of combining youth and age, and were inspired by their special ability to understand and communicate with each other. For the purpose of this musical, we will be using the broad term Junior Choir instead of children. As you rehearse and perform Side By Side, our prayer is that you will be reminded that Jesus reached out continuously to people unlike himself and has commanded us to do the same. The authors are grateful for the spiritual insight these two groups have given us, and for their showing us the meaning of these two passages from the Psalms: Children are a gift from God: they are his reward (Psalm 127:3); The virtuous ... will flourish in the courts of our God, still bearing fruit in old age, still remaining fresh and green, to proclaim that Yahweh is righteous (Psalm 92: 13-15).
Song List: A Miracle Bubble Gum and Bifocals Growing Up I Will Love The Lord Not Gone Yet Production Guide Rock Of Ages Teach Us About Love The Bond
$7.95
7.21 €
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Choral Unison
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Side, our prayer is that you will be reminded that Jesus reached out continuously to people unlike himself and has commanded us to do the same
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Various
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The virtuous
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Side By Side
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Laurel Press
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SheetMusicPlus
The Best Hymns of All Time (for Wind Instruments) Book 3
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arran…
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Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 138 pages. Colin Kirkpatrick Publications #5726785. Published by Colin Kirkpatrick Publications (A0.522172). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 138-page PDF file for instant download. Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus’ Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George’s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre). The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.
$31.99
29.01 €
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Concert band
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Various
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
The Home Coming March (1908) - Concert Band Score and Parts PDF
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1…
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00
27.2 €
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Concert band
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E
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The Home Coming March
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BJE Music
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SheetMusicPlus
Major Scale Paper Keys, Fits on the keyboard and piano, For beginners
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.906751 Composed by Joy Gilmore, Hsi…
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Piano Solo - Level 1 - Digital Download SKU: A0.906751 Composed by Joy Gilmore, Hsin Hui Gilmore. Instructional. Score. 10 pages. Joyful Sound Music #3860577. Published by Joyful Sound Music (A0.906751). Teachers and Students, Thank you for downloading this chart. On the keys, there are two different types of numbers. The regular numbers, like 1 2 3 4 5, are for the right hand. The numbers with the circles, like 1 2 3 4 5, are for the left hand. (Sheet music plus don't have the special font to display this) About the (*) marking If the (*) is before a number like *1 or *1, it means that it is in the 1st octave of the scale. If the (*) is after a number like 1* or 1*, it means that it is in the last octave of the scale. The numbers with underline, it means that is the 2nd and the 3rd octave of the scale. The dotted lines indicate that you can attach two key scales together to make one longer scale. Because of the limitations of the paper setup, there are only three octaves on each key. The paper key might have a slightly difference on the key size. It is because different manufacture have their own different key sized width. This paper keys should fit most keyboards or piano. This paper scale keyboard can help piano beginners start lessons and helps make practice easier. However, it is NOT RECOMMENDED for long term use. How to Print This pdf is designed for two sided (duplex) printers. Both sides on the same paper supposed to be in up side down format. Make sure you enable the two sided print function. You should be able to have a paper scale for three octaves on both sides. If you used duplex printing and your printer didn’t line up the scales, please use hand feed. Because every printers have different settings. You just need to try it in a different ways a couple times. Materials: I used the card stock from Sam’s club. It is 110lb greeting card paper. It is the cheapest one on the market. It cost $7.98 for 275 sheets. All of the papers are laminated.
$2.99
2.71 €
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Piano solo
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Joy Gilmore, Hsin Hui Gilmore
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2
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Major Scale Paper Keys, Fits on the keyboard and piano, For beginners
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Joyful Sound Music
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SheetMusicPlus
The Complete Instrumentalist Book One
Level 2 - Digital Download SKU: A0.1315388 By DaCapo Primary Music. By Jane Cutler …
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Level 2 - Digital Download SKU: A0.1315388 By DaCapo Primary Music. By Jane Cutler and Tracey Mathias. Classical,Contemporary,Instructional,Multicultural,Traditional,World. Educational Method. 94 pages. DaCapo Primary Music #904114. Published by DaCapo Primary Music (A0.1315388). This Book Contains 68 songs for the instrumentalist.This new edition of the DaCapo Complete Instrumentalist contains the same material as when first published in 2000, with one big change - many of the songs have been re-worded by our writer in residence, Tracey Mathias, to make them more engaging for very young children.Singing is the foundation of all musical skills.The book concentrates on the building of musicianship, is not clef specific and is therefore suitable for ANY instrument. It has been written on a reduced stave of 1, 2 or 3 lines in order to develop the skill of hearing the music from the page. The songs are classified by their note range, using solfa symbols and handsigns to identify relative pitches.The collection starts with the  so  mi interval and moves progressively to cover the complete major pentatonic scale. These intervals are easier to pitch accurately and you have the added advantage of working in canon. You may find another section more appropriate for the early stages of your instrument. A violinist or cellist may find the  so  do section better as a starting point for example, whilst  la  so might be more comfortable on a fife or recorder.Each section starts with a list of ideas for very simple activities used to teach a song and establish it in the pupil's mind. There follows a variety of more complex and creative ideas which will enhance their musicianship. The activities are at three levels and we suggest that first you learn lots of the songs and then return to them later, tackling some of the more challenging suggestions.Whilst every attempt has been made to research the source material, if you think we have not credited an original song please let us know.We hope that you enjoy becoming a Complete Instrumentalist. Jane CutlerYou can find more DaCapo pieces for young instrumentalists at DaCapo Music Shop
$7.99
7.24 €
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DaCapo Primary Music
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The Complete Instrumentalist Book One
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DaCapo Primary Music
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SheetMusicPlus
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.13 €
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2 Pianos, 4 hands
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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CURVE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Abraham’s Daughter: March from the Civil War
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.818257 By Stephen R Dalrymple. By…
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Concert Band - Level 3 - Digital Download SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and parts. 54 pages. Stephen R Dalrymple #3566019. Published by Stephen R Dalrymple (A0.818257). Abraham’s Daughter: March from the Civil War ♫ by Septimus Winter (1861) ♫ with When Johnny Comes Marching Home by Patrick Gilmore a.k.a. Louis Lambert (1863). ♫ arranged for concert band by Stephen R Dalrymple ♫ After a family trip to Gettysburg, Antietam, Harper’s Ferry, and Ford Theater, I created a concert band arrangement to solidify the trip in my mind using a popular Civil War song from the North, “Abraham’s Daughter,†and a song used by both North and South, “Johnny Comes Marching Home.†♫ Music was a means for soldiers to release the tensions of war. By December 1861 the Union army had 28,000 musicians in 618 bands, not counting soldiers who travelled with violins and other musical instruments. Soldiers often sang as they marched by day and at night in camp. Musical duels were not uncommon between Union and Confederate bands. This idea inspired the last section of the arranger where the 2 songs are played against each other. ♫ Septimus Winner wrote “Abraham’s Daughter†in 1861 for the Minstrel stage. “Abraham’s Daughter†pictures a fresh recruit that is on his way to Washington DC to be processed and trained for future battles. ♫ Given the unpublished verses we have, Abraham’s Daughter was undoubtedly sung and embellished by Union soldiers as they travelled from battlefield to battlefield. ♫ Winner is also known for writing “Ten Little Injuns†“Listen to the Mockingbird†and “Where, Oh Where Has My Little Dog Gone?†♫ Abraham Lincoln had 4 sons, Robert Todd, Edward Baker, William Wallace, and Thomas (Tad); but no daughters. So, who is Abraham’s daughter? ♫ Oh! Should you ask me who she am, Columbia is her name, sir; She is the child of Abraham, Or Uncle Sam, the same, sir. Now if I fight, why ain't I right? And don't you think I oughter. The volunteers are a-pouring in From every loyal quarter, And I'm goin' down to Washington To fight for Abraham's daughter. ♫ At the beginning of the war, the majority of soldiers, North and South, were fighting to uphold their view of government, each side justifying its position by quoting the Constitution. Southern States saw each State as a sovereign, independent nation. Abraham Lincoln insisted that the United States were one nation. For Abraham Lincoln, the purpose of the war was to preserve the Union. The undivided union was Lincoln’s daughter. ♫ arrangement © 2000, 2013 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Bassoon, Trumpet 1, Trumpet 2, F Horn, Trombone, Treble Clef Baritone, Tuba, Electric Bass, Snare and Bass Drums, Cymbals, and Bells. 3) Condensed Conductor’s Score in a smaller format for use in a 10 inch tablet 4) The same parts formatted for a 10 inch tablet. ♫ The YouTube video contains a full recording.
$19.00
17.23 €
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Concert band
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Stephen R Dalrymple
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but no daughters
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Abraham’s Daughter: March from the Civil War
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Stephen R Dalrymple
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SheetMusicPlus
I Sit Here on the Barren Hill
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1419806
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Chamber,Classical,Latin. 17 pages. Fiona Alice Hickie #1001228. Published by Fiona Alice Hickie (A0.1419806). A piece for brass quintet based on the poem by the same name. It is a slow piece is a South American style.Based on the poem: Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives. Dedicated to Ben van den Akker.
$13.99
12.68 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Fiona Alice Hickie
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I Sit Here on the Barren Hill
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Fiona Alice Hickie
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SheetMusicPlus
The Escape (medium/big percussion ensemble)
Percussion Ensemble
Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Low Drum,Quad Toms,Shaker,Suspend…
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Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Low Drum,Quad Toms,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1274188 Composed by Frits Renting. Film/TV. 51 pages. Frits_Renting #866319. Published by Frits_Renting (A0.1274188). Side note: This version is for medium/big percussion ensemblesEN:This composition was written for one of the parts of the D exam by Frits Renting. The starting point of the composition was: film music. Inspired by well-known works by Hans Zimmer, Brian Tyler, John Williams and works by De Efteling. The composition starts in a fairly small composition in which, with the help of crescendos and several instruments, it works towards a strong, but above all open and cheerful part. This is followed by a short untuned percussion solo. After this, theme A is closed in a calm, non-violent manner. Immediately theme B comes in which is built up through crescendos and multiple instruments over time. Theme B also comes to a quiet end afterwards. After this theme A and B return at the same time, which builds up and closes in a grandiose way.NL:Deze compositie is geschreven voor één van de onderdelen van het D examen van Frits Renting. Het uitgangsdoel van de compositie was: filmmuziek. Geïnspireerd door bekende werken van Hans Zimmer, Brian Tyler, John Williams en werken van De Efteling. De compositie begint in een vrij kleine samenstelling waarbij, met behulp van crescendo's en meerdere instrumenten, het zich toewerkt naar een sterk, maar vooral open en vrolijk gedeelte. Dit wordt opgevolgd door een korte ongestemde slagwerk solo. Hierna wordt thema A op een rustige, geweldloze manier afgesloten. Direct komt thema B binnenvallen wat word opgebouwd door middel van crescendo's en meerdere instrumenten in loop van de tijd. Ook komt thema B daarna tot rustig einde. Hierna komen thema A en B tegelijkertijd terug wat zich opbouwt en op een grandioze manier, zich afsluit.
$80.00
72.54 €
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Percussion Ensemble
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Frits Renting
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The Escape
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Frits_Renting
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SheetMusicPlus
The Escape - (small/medium percussion ensemble)
Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Drums,Shaker,Suspended Cymbal,Tam…
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Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Drums,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.1288799 Composed by Frits Renting. Arranged by Frits Renting. Film/TV. 35 pages. Frits_Renting #879651. Published by Frits_Renting (A0.1288799). Side note: This version is for small/medium percussion ensemblesEN:This composition was written for one of the parts of the D exam by Frits Renting. The starting point of the composition was: film music. Inspired by well-known works by Hans Zimmer, Brian Tyler, John Williams and works by De Efteling. The composition starts in a fairly small composition in which, with the help of crescendos and several instruments, it works towards a strong, but above all open and cheerful part. This is followed by a short untuned percussion solo. After this, theme A is closed in a calm, non-violent manner. Immediately theme B comes in which is built up through crescendos and multiple instruments over time. Theme B also comes to a quiet end afterwards. After this theme A and B return at the same time, which builds up and closes in a grandiose way.NL:Deze compositie is geschreven voor één van de onderdelen van het D examen van Frits Renting. Het uitgangsdoel van de compositie was: filmmuziek. Geïnspireerd door bekende werken van Hans Zimmer, Brian Tyler, John Williams en werken van De Efteling. De compositie begint in een vrij kleine samenstelling waarbij, met behulp van crescendo's en meerdere instrumenten, het zich toewerkt naar een sterk, maar vooral open en vrolijk gedeelte. Dit wordt opgevolgd door een korte ongestemde slagwerk solo. Hierna wordt thema A op een rustige, geweldloze manier afgesloten. Direct komt thema B binnenvallen wat word opgebouwd door middel van crescendo's en meerdere instrumenten in loop van de tijd. Ook komt thema B daarna tot rustig einde. Hierna komen thema A en B tegelijkertijd terug wat zich opbouwt en op een grandioze manier, zich afsluit.
$70.00
63.47 €
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Frits Renting
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The Escape -
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Frits_Renting
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SheetMusicPlus
The Church's One Foundation - Flex Orchestra
Small Ensemble Cello,Double Bass,Piano Accompaniment,Viola,Violin - Level 1 - Digital Down…
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Small Ensemble Cello,Double Bass,Piano Accompaniment,Viola,Violin - Level 1 - Digital Download SKU: A0.596381 Composed by Samuel Stone. Arranged by Kristin Campbell. Sacred. Score and parts. 22 pages. Horsehair Music #4278645. Published by Horsehair Music (A0.596381). The Flex Orchestra Series are arrangements that can flex to the instrumentation that is available in your context. This series was born out of a desire to have beginning players participate in worship and play along side more experienced players. These arrangements are written with a melody part in each instrument's clef. The melody part is the same from instrument to instrument with slight variations in register. Along with the melody part is a harmony part or ensemble part. Unlike the melody parts, each ensemble part is unique to that instrument. The piano accompaniment is the glue that holds it all together. This arrangement to be played as a solo with accompaniment, or any combination duet, trio, quartet or quintet with piano accompaniment. By having one or more instruments play the melody part, and then add any other instrument on their ensemble part. The melody part is overall the easiest or simplest part. The ensemble parts can be a little more techincal. These techniques would include harder string crossings, and some position work. This scoring flexiblity allows less-experienced players of any stringed instrument to play the melody part, and the more-experienced string players to play their instrument's ensemble part. This allows all levels of string players to play together any combination. This arrangement for strings is easy and all set in first position in the keys of C and G. A straightforward and simple setting to help students learn this classic hymn tune.
$9.99
9.06 €
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having one or more instruments play the melody part, and then add any other instrument on their ensemble part
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Samuel Stone
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The Church's One Foundation - Flex Orchestra
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Horsehair Music
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.75 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Joy To The World - Flex Orchestra
Cello,Double Bass,Piano Accompaniment,Viola,Violin - Level 2 - Digital Download SKU: A0…
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Cello,Double Bass,Piano Accompaniment,Viola,Violin - Level 2 - Digital Download SKU: A0.596406 Composed by George Frederick Handel and Antonio Vivaldi. Arranged by Kristin Campbell. Baroque,Christmas. 31 pages. Horsehair Music #6631151. Published by Horsehair Music (A0.596406). The Flex Orchestra arrangements are settings that can flex to your available instrumentation. This series was born out of a desire to have beginning players participate in worship and play along side more experienced players. These arrangements are written with a melody part in each stringed instrument's clef. The melody part is the same from instrument to instrument with slight variations in register. Along with the melody part is a harmony part or ensemble part for each instrument. Ensemble parts are unique to the specific instrument. The piano accompaniment is the glue that holds it all together. This arrangement can be played as a solo with accompaniment, or any combination duet, trio, quartet or quintet with piano accompaniment. By having one or more instruments play the melody part, and then add any other instrument on their ensemble part.      This arrangement for strings is easy uses 1st and 3rd position for the violin melody. Viola and cello melody parts are in first position. This setting mixes Vivalid's Gloria with Handel's Joy to the World. You will enjoy this lively and energetic setting of these well loved Christmas classics.
$9.99
9.06 €
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having one or more instruments play the melody part, and then add any other instrument on their ensemble part
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George Frederick Handel and Antonio Vivaldi
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Joy To The World - Flex Orchestra
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Horsehair Music
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SheetMusicPlus
The Royal Hussar (Ceremonial Slow March) for Concert/Wind Band ''Keith Terrett Classic March Collect
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett.…
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Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett. 20th Century,Patriotic,World. 32 pages. Keith Terrett #1989071. Published by Keith Terrett (A0.746511). A slow march I entitled The Royal Hussar, is an original ceremonial slow march of mine, suitable for indoor or outdoor performance. Slow March: This is a ceremonial pace, used for funeral marches and when a unit’s colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States Marine Corps, arms swing as the distance they normally would in quicktime, but at the same pace as marching. U.S. Marine Color Guards do not swing their arms. Slow March is typically used in the Marine Corps for funeral details and ceremonies such as the Marine Corps Ball (when the cake is escorted out). In Spain, Latin America, and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goose step during parades and ceremonies. The standard pace is 60 paces per minute. Famous slow marches include:Preobrajensky Regimental Slow March Presented to the Royal Marines by Admiral of the Fleet The Earl Mountbatten of Burma on 10th June 1964 and first performed as the Regimental Slow March of the Royal Marines on Horse Guards Parade that night. The march was composed by the Russian composer Donajowsky for the Russian Tzar’s Preobrajensky Guard. The Royal Hussars Slow March ’Coburg’, a tune composed by Haydn and arranged by Grant-James in the late 19th Century, is without doubt one of the most well-known and famous Slow Marches to be written. ’The Eagle’, which itself is a combination of the 14th and 20th Hussars slow marches is also a very strong march, but not widely known outside 14th/20th King’s Hussars’ circles. The Garb of Old Gaul (sometimes given as Auld Gaul) is an 18th-century patriotic Scottish march and song about Highland soldiers during the Seven Years War. The music was written by General John Reid, who was a senior officer of the 42nd Regiment of Foot (The Black Watch) during the Seven Years War. The words have traditionally been attributed to Sir Harry Erskine (1710 -1765). Robert Burns described it as This excellent loyal Scottish song and states that it first appeared in print in Herd’s Collection of 1769. Alternative titles include The Highland Character and The Highland or 42nd Regiment’s March. The tune was originally a quick march but was later rearranged as a slow march. Other famous slow marches of the British Army include Golden Spurs & Scipio. Put away Scipio, Coburg & Garb of Old gaul, time for a newcomer on the block! For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$29.99
27.19 €
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Concert band
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Keith Terrett
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Scipio
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The Royal Hussar
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Keith Terrett
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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
15.37 €
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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
15.37 €
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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
Match Of The Day
Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.799274 Composed by Barr…
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Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.799274 Composed by Barry Stoller. Arranged by Derek Hasted. Contemporary,Film/TV. Score and parts. 24 pages. Derek Hasted #5224117. Published by Derek Hasted (A0.799274). MATCH OF THE DAY THEME - 4 GUITARS or LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes Both my adult ensemble groups have played this in concert and it’s a lot of fun! It's known to UK audiences as the theme music to the TV program Match Of The Day.This version includes the uplifting key-change in the middle of the piece and if the upper three parts play outside of first position, then it’s a simple two-fret shift and no change to the left hand fingering at all!The X-headed notes are golpé strokes - but on a Classical Guitar with no scratch-protection to the front, it’s best to tap the side-panel of the bridge with the side of the thumb - it gives a great drum sound and the wood is hard and won’t mark.The metronome mark ties in with the speed of the original, but if the fast sections are a little too cumbersome for Guitar One, simply drop the pace a little. Since most of the notes are the same length, it works at almost any speed.I hope you enjoy performing this!
$4.99
4.52 €
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Barry Stoller
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Match Of The Day
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Derek Hasted
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SheetMusicPlus
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
C Instruments
C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermis…
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C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.<br> <br> Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.<br> <br> I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.<br> <br> At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at<br> <br> https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS<br> <br> As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.
$11.46
10.39 €
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C Instruments
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Various
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Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
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Wold Meridian
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SheetMusicPlus
Praise the Lord - Short Version
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.993320 Composed by Matthew Y…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.993320 Composed by Matthew Yarnell. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score. 2 pages. Flome the Gnome #3684401. Published by Flome the Gnome (A0.993320). Praise the Lord is a more upbeat song that helps you recall what Jesus has done while at the same time allowing you to sing mightily - Praise the Lord. This is the short version in that it has four verses whereas the unedited version has five verses. Both versions include the Praise the Lord chorus. If you're looking for a new song that will encourage your congregation to stand up and praise the Lord, then please consider adding this song to your collection.I pray that this song nourishes your soul, your family, and/or your congregation. Please let others know about my songs; say a prayer for me, my family, and ministry; and consider supporting my ministry financially so that I might have more time to write additional songs and/or serve the Lord.This song would be good for all churches but is probably best suited for those that enjoy more traditional hymns.I can be found online at my website: www.flomethegnome.com and on facebook. You can email me at flomethegnome@gmail.com You can snail mail me at Matthew Yarnell, 2098 Marble Valley Basin Road, Addy, WA. 99101. Or, you can call me at 509-675-3420.
$3.99
3.62 €
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Piano, Voice
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Matthew Yarnell
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Praise the Lord - Short Version
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Flome the Gnome
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SheetMusicPlus
Praise the Lord! - Unedited Version
Small Ensemble Organ,Piano,Voice - Level 2 - Digital Download SKU: A0.993321 Compos…
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Small Ensemble Organ,Piano,Voice - Level 2 - Digital Download SKU: A0.993321 Composed by Matthew Yarnell. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 2 pages. Flome the Gnome #3684399. Published by Flome the Gnome (A0.993321). Praise the Lord is a more upbeat song that helps you recall what Jesus has done while at the same time allowing you to sing mightily - Praise the Lord. This is the unedited version in that it has five verses whereas the shorter version has four verses. Both versions include the Praise the Lord chorus. If you're looking for a new song that will encourage your congregation to stand up and praise the Lord, then please consider adding this song to your collection.I pray that this song nourishes your soul, your family, and/or your congregation. Please let others know about my songs; say a prayer for me, my family, and ministry; and consider supporting my ministry financially so that I might have more time to write additional songs and/or serve the Lord.This song would be good for all churches but is probably best suited for those that enjoy more traditional hymns.I can be found online at my website: www.flomethegnome.com and on facebook. You can email me at flomethegnome@gmail.com You can snail mail me at Matthew Yarnell, 2098 Marble Valley Basin Road, Addy, WA. 99101. Or, you can call me at 509-675-3420.
$3.99
3.62 €
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Matthew Yarnell
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Praise the Lord! - Unedited Version
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Flome the Gnome
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SheetMusicPlus
Striking Feathers
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1501537…
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String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1501537 Composed by Klaus Wegner Hamilton. 21st Century,Classical,Contemporary. 12 pages. Klaus Wegner Hamilton #1077477. Published by Klaus Wegner Hamilton (A0.1501537). This is a piece I wrote for String Quartet, taken from the 2024 Guildhall Composition Summer Course End-of-Course Concert. I was really obsessed with the pelog scale when I wrote this piece; I would sit at the piano, just running the scale up and down over and over again, absorbing the colours. I kept thinking about the first Gamelan theme in Poulenc's Concerto for two pianos, which I have directly quoted in this piece. I ended up taking this piece in a much different direction however, contrasting the playful with both the overbearingly bright and the ominous. I really learned a lot about writing for String Quartet and strings in general through this piece. Note:There are some differences between the linked performance and the score being provided. Aside from some minor engraving changes as well as minor musical adjustments, the most notable change is that the piece has been moved from E Major to D Major to aid playability. Despite these changes, the recording is functionally the same as the score being provided.
$4.99
4.52 €
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String Quartet: 2 violins, viola, cello
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Klaus Wegner Hamilton
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Striking Feathers
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Klaus Wegner Hamilton
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SheetMusicPlus
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