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Passage of Time for Percussion Ensemble
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Vous avez sélectionné:
Passage of Time for Percussion Ensemble
Partitions à imprimer
19 partitions trouvées
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1
Alexandriana for Percussion Ensemble
Alexandriana for Percussion Ensemble
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Ensemble de Percussions
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AVANCÉ
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Dan Heslink
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Alexandriana for Percussion En
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Pharaoh Publications
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. P...
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Percussion Ensemble - Level 5 - SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. Published by Pharaoh Publications (A0.937755). Alexandriana for percussion ensemble (12 performers) by Dan Heslink The term Alexandriana is popularly used to reference the Great Library of antiquity in Alexandria, Egypt. Rooted in Alexander the Great’s global military and exploratory exploits (334 - 323 BCE), the library symbolizes the ancient Greek ever expanding worldview, especially under the influence of Alexander and his tutor, Aristotle. Alexander died long before construction of the Ancient Museum and Library of Alexandria, but the concept of a universal library was uniquely his. The mixing of Hellenistic columns with Egyptian architecture and the housing of thousands of scrolls in Greek, Turkish, Babylonian, Egyptian and Hebrew, intensify the division of the library broadly into two large sections, one for eastern knowledge and one for western knowledge. In this musical score, typically western is the thematic concept (expressed most clearly in the chimes), the tonal, triadic-based harmony and sectional concept of form. The music’s sectional nature parallels the library’s different rooms, each containing their own genre of knowledge (history, mathematics, poetry, etc.) Evocative of eastern musical practices are the simultaneous layers of different rhythmic subdivisions, oriental modes, and florid lines in the xylophone and vibe parts. In this score, eastern musical procedures are expressed with instruments commonly found in the Western orchestra or wind band. The performers are encouraged to always emphasize the score’s contrasts. Passages for indefinitely pitched percussion featuring the song within the drums contrast with other passages of purely quantitative rhythm. Complexity in the interaction of parts contrast with simple rhythmic unison. Passages of thick harmony contrast with modal monophonic melodies accompanied only by indefinitely pitched sounds. Overall, there is a wide dynamic range. During long passages of gradually accruing energy, take care to not build dynamics too quickly, and during fortissimo passages, drums should be stroked in a manner that avoids excessive aggression. The rhythmic background of 16th notes must be consistent among all players so that interlocking rhythmic motifs are consistent. Often the tom-toms have melodic passages that imitate the shape of mallet or timpani melodies. Tune the drums for a warm, round sound and select mallets accordingly. Bar percussion players should apply a flowing legato to their passage work. Soft sections are intended to sound mysterious: be sure to use mallets that match that character. The composer assigns a performance level of difficult to this work. Performance time is 9:15. The composer, Dan Heslink, can be reached at dan@dheslink.com.
$9.99 ≈
9.22€
Passage of Time - for Percussion Ensemble
Passage of Time - for Percussion Ensemble
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Ensemble de Percussions
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INTERMÉDIAIRE
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Contemporain
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Patrick Glenn Harper
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Passage of Time - for Percussi
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Patrick Glenn Harper
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SheetMusicPlus
By Patrick Glenn Harper. For Percussion Ensemble. Instructional, Rock, 20th Century, World, 21st Century. Intermediate. Set of Parts, Score. Published by Patric...
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By Patrick Glenn Harper. For Percussion Ensemble. Instructional, Rock, 20th Century, World, 21st Century. Intermediate. Set of Parts, Score. Published by Patrick Glenn Harper
$30.95 ≈
28.55€
Silent Night Prelude for percussion octet
Silent Night Prelude for percussion octet
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Ensemble de Percussions
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FACILE
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Noël
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Franz Xaver Gruber
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Dan Heslink
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Silent Night Prelude for percu
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Pharaoh Publications
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SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.935383 Composed by Franz Xaver Gruber. Arranged by Dan Heslink. Christian,Christmas. Score and parts. 20 pages. ...
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Percussion Ensemble - Level 2 - SKU: A0.935383 Composed by Franz Xaver Gruber. Arranged by Dan Heslink. Christian,Christmas. Score and parts. 20 pages. Pharaoh Publications #5363007. Published by Pharaoh Publications (A0.935383). Silent Night Prelude for Percussion Octet arr. by Dan Heslink This work is based on the well-loved Christmas carol, composed in 1818 by Franz Xaver Gruber. This theme is so popular that it was declared an intangible cultural heritage by UNESCO in 2011. And the version sung by Bing Crosby in 1935 is the fourth best-selling single recording of all-time. It’s sure to motivate your audience close to Christmas. The Prelude begins with a brisk tempo. Although notated in 3, as is customary in more modern renditions (the original theme was notated in 6), the tempo must be fast enough that two measures of 3 create a binary pairing (like 6/4 in two). It may be necessary to slightly slow down the roll speed to avoid a frenetic sound. The difficulty level is easy. There are no changes of key, and the timpani part requires only two drums (Bb, F) with no tuning changes. The vibe part could be played with two mallets, but might execute more comfortably with three. The other keyboard parts use only two mallets each. The expression of this beautiful tune will be greatly enhanced by exaggerating the contrasts of dynamics. Accompaniment and ornamental figures must at all times be sublimated to the familiar theme. At the last strain, players should sing the well-known words in order to lead the audience or congregation in group singing. It would be helpful for the conductor to turn and face the audience at this point. This closing passage may be repeated for any number of sung verses. Use a smooth, relaxed stroke to elicit as much legato as possible. At points a continuous arpeggio accompaniment is divided among the instruments. Care must be taken to keep the sixteenth note speed consistent. The opening runs should be performed half-pedal on the vibes for clarity. Prelude on Silent Night would serve equally well in recital or in a church service. Duration is 3:10. The arranger, Dan Heslink, can be contacted at dan@dheslink.com
$4.99 ≈
4.60€
Christmas Calypso for Percussion Sextet
Christmas Calypso for Percussion Sextet
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Ensemble de Percussions
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FACILE
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Noël
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Dan Heslink
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Christmas Calypso for Percussi
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Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.935389 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 18 pages. Pharaoh Publications #6117159. P...
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Percussion Ensemble - Level 2 - SKU: A0.935389 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 18 pages. Pharaoh Publications #6117159. Published by Pharaoh Publications (A0.935389). Christmas Calypso for Percussion Sextet . . . . . . . . . . . . . . arr. Dan Heslink The calypso style referenced in the title is not the calypso of Afro-Caribbean music from Trinidad and Tobago. Rather, it is the especially toned-down but still rhythmic commercial variant popularized by folk singers. Couched in this style, the arrangement offers Christmas favorites Deck the Halls, Angels We Have Heard On High, God Rest Ye Merry Gentlemen and Good Christian Men, Rejoice. This if one of two versions of the calypso arrangement by Dan Heslink, both of which are available through Sheet Music Plus. The other arrangement, percussion sextet, follows similar musical contours and is available separately. Both versions are intended to elicit one primary response from both performers and audience – fun. It does not tax the players technically, but delivers a satisfying sound with carols that the performers likely know and love. General audiences will be enchanted by the familiar melodies delivered in percussion, especially at Christmas time. The introduction opens with a brisk and rhythmic introduction based on Deck the Halls, and establishes the fun calypso rhythm immediately. Deck the Halls is the much-loved welsh air that was arranged by Haydn, Nos galan (Hob. XXXIb:29, 1803). Then, Angels We Have Heard on High breaks out in double-stops with a continuation of the rhythmic impetus. The birth of Jesus Christ as narrated in the Gospel of Luke is the subject of Angels We Have Heard on High, a traditional French song of unknown origin. The gloria section provides some flowing contrast, portraying the shepherds’ impressions as they encounter a multitude of angels singing and praising. The performers are encouraged to use a relaxed stroke to glide through these passages. Following is God Rest Ye Merry Gentlemen, a 16th century English traditional Christmas carol also known under the title, The old Christmas Carol. It provides a contrast in tonality (minor mode) and texture. The xylophone part likely will lay most comfortably when executed with four mallets, although there are no three or four mallet chords in these passages. Good Christian Men, Rejoice is the closing selection in this Christmas medley. It’s title is an English translation of In dulci jubilo (Latin for In sweet rejoicing). The work ends happily with a summation of the calypso rhythm. This medley will be especially effective programmed on a winter holiday concert. Duration is 2:30. The arranger, Dan Heslink, assigned a difficulty level of medium easy, and can be contacted at dan@dheslink.com.
$4.99 ≈
4.60€
Christmas Calypso for Marimba Quartet
Christmas Calypso for Marimba Quartet
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Ensemble de Percussions
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Noël
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Dan Heslink
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Christmas Calypso for Marimba
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Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - SKU: A0.935390 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 16 pages. Pharaoh Publications #6117165. Published b...
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Percussion Ensemble - SKU: A0.935390 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 16 pages. Pharaoh Publications #6117165. Published by Pharaoh Publications (A0.935390). Christmas Calypso for Marimba Quartet . . . . . . . . . . . . . . arr. Dan HeslinkThe calypso style referenced in the title is not the calypso of Afro-Caribbean music from Trinidad and Tobago. Rather, it is the especially toned-down but still rhythmic commercial variant popularized by folk singers. Couched in this style, the arrangement offers Christmas favorites Deck the Halls, Angels We Have Heard On High, God Rest Ye Merry Gentlemen and Good Christian Men, Rejoice. This if one of two versions of the calypso arrangement by Dan Heslink, both of which are available through Sheet Music Plus. The other arrangement, for percussion sextet, follows similar musical contours and is available separately. Both versions are intended to elicit one primary response from both performers and audience – fun. It does not tax the players technically, but delivers a satisfying sound with carols that the performers likely know and love. General audiences will be enchanted by the familiar melodies delivered in percussion, especially at Christmas time. The introduction opens with a brisk and rhythmic introduction based on Deck the Halls, and establishes the fun calypso rhythm immediately. Deck the Halls is the much-loved welsh air that was arranged by Haydn, Nos galan (Hob. XXXIb:29, 1803). Then, Angels We Have Heard on High breaks out in double-stops with a continuation of the rhythmic impetus. The birth of Jesus Christ as narrated in the Gospel of Luke is the subject of Angels We Have Heard on High, a traditional French song of unknown origin. The gloria section provides some flowing contrast, portraying the shepherds’ impressions as they encounter a multitude of angels singing and praising. The performers are encouraged to use a relaxed stroke to glide through these passages. Following is God Rest Ye Merry Gentlemen, a 16th century English traditional Christmas carol also known under the title, The old Christmas Carol. It provides a contrast in tonality (minor mode) and texture. The xylophone part likely will lay most comfortably when executed with four mallets, although there are no three or four mallet chords in these passages. Good Christian Men, Rejoice is the closing selection in this Christmas medley. It’s title is an English translation of In dulci jubilo (Latin for In sweet rejoicing). The work ends happily with a summation of the calypso rhythm. This medley will be especially effective programmed on a winter holiday concert. Duration is 2:30. The arranger, Dan Heslink, assigned a difficulty level of medium easy, and can be contacted at dan@dheslink.com.
$4.99 ≈
4.60€
Holiday Bolero for Keyboard Percussion
Holiday Bolero for Keyboard Percussion
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Ensemble de Percussions
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FACILE
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Pharaoh Publications
#
#
Holiday Bolero for Keyboard Pe
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Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.935380 Arranged by Pharaoh Publications. Christian,Christmas,Contemporary,Spiritual. Score and parts. 14 pages. ...
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Percussion Ensemble - Level 2 - SKU: A0.935380 Arranged by Pharaoh Publications. Christian,Christmas,Contemporary,Spiritual. Score and parts. 14 pages. Pharaoh Publications #5212781. Published by Pharaoh Publications (A0.935380). Holiday Bolero for keyboard percussion arr. by Dan Heslink This arrangement is available in two versions, a quintet for xylophone and four marimbas, and a percussion ensemble octet for orchestra bells, vibes, 3 marimbas, snare drum, timpani and multiple percussion. These comments refer to the mallet quintet arrangement. While the term Bolero can be applied to a variety of slow-tempo Latin dances, for most orchestral performers the title will evoke the stirring rhythms of Ravel’s famous Bolero. Similarities include the driving 3/4 bolero rhythm, the building of tension over one long-range crescendo, and the climactic conclusion. The pitch content is based on O Holy Night, the well-known Christmas carol composed by Adolphe Adam in 1847. The difficulty level in terms of executing notes and rhythms is medium-easy. At the same time, the dynamic planning and control of the crescendo requires considerable musical judgment. All of the keyboard parts require only two mallets; some passages unfold as double stops. Mallets for the marimbas should be chosen to maximize the blend of individual parts into a unified chord. There are no key changes, or mallet and hand independence. Holiday Bolero is sure to be an audience pleaser during a winter concert, especially close to Christmas. It would serve equally well in a percussion recital or a church service. In church this work would be appropriate as special music or as an offertory. Duration is 2:52. The arranger, Dan Heslink, can be contacted at dan@dheslink.com.
$4.99 ≈
4.60€
Sweet Dreams (Are Made Of This)
Sweet Dreams (Are Made Of This)
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Ensemble d'Accordéons
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Rock
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Annie Lennox/David Stewart
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Luc Papens
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Sweet Dreams
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Luc Papens
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SheetMusicPlus
Accordion orchestra - Early Intermediate - Digital Download By Annie Lennox/David Stewart. Arranged by Luc Papens. Score, Set of Parts. 66 pages. Pub...
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Accordion orchestra - Early Intermediate - Digital Download By Annie Lennox/David Stewart. Arranged by Luc Papens. Score, Set of Parts. 66 pages. Published by Luc Papens
?Sweetdreams? is one of those signature synth-pop songs of the eighties.
AnnieLennox and Dave Stewart wrote the song after the Tourists had broken up andthey formed Eurythmics. At that moment they were disillusioned and broke andthe song?s lyrics reflects that unhappy time. Although produced with limitedresources, it?s one of the most striking and recognisable songs of the eighty?sera.
The duelling synthesizers are mimicked by accordion voice 3 and 4 and of course the keyboard. The drumpart is very basic and clean, like the original. To add some contrast, bas anda tambourine back beat kick-in during the melodic passages between the verses. Accordion basses in voice 4are optional but darken the sound nicely, especially when sustained in some passages.
Have funwith this Eighties classic!
The pdf isa bundle of the full score with a complete set of parts. It contains:Full score (1 copy), Accordion1 (4 copies), Accordion2 (4 copies), Accordion3(4 copies), Accordion4 (4 copies), Keyboard (2 copies), Bass(1 copy), Percussion (2copies), Drums (1 copy). Total of 66 pages (some are blank to avoid overlapping of parts when printing rectoverso).
The mp3 is producedby Sibelius notation software andKontakt sample libraries.
Duration:3:34
✉ luc.papens@telenet.be
$49.99 ≈
46.12€
Quartet #1
Quartet #1
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Ensemble de Percussions
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INTERMÉDIAIRE
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Contemporain
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Jeff Tincher
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Quartet #1
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Jeff Tincher
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SheetMusicPlus
Percussion Ensemble - Level 3 - SKU: A0.584689 Composed by Jeff Tincher. Contemporary. Score and parts. 21 pages. Jeff Tincher #6019457. Published by Je...
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Percussion Ensemble - Level 3 - SKU: A0.584689 Composed by Jeff Tincher. Contemporary. Score and parts. 21 pages. Jeff Tincher #6019457. Published by Jeff Tincher (A0.584689). This begins with a 7/4 time signature in A minor. The initial passage was created to sound like an industrial region in a run-down town. The machines continue to progress until the complete building is running like a well-oiled machine, to quote a anecdote. As it continues the business runs smooth like a waltz in 3/4 time. For a moment the initial passage returns before a climax in A major. The finale concludes as the day ends with the original passage returning in 7/4 time as the business closes for the day. Hear the full version of composition on Jeff Tincher's For Percussion Quartet CD. Duration = 4:00. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99 ≈
11.98€
Quartet #6
Quartet #6
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Ensemble de Percussions
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INTERMÉDIAIRE
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Jeff Tincher
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Quartet #6
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Jeff Tincher
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SheetMusicPlus
Percussion Ensemble - Level 3 - SKU: A0.584694 Composed by Jeff Tincher. Contemporary,Jazz. Score and parts. 16 pages. Jeff Tincher #6019471. Published ...
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Percussion Ensemble - Level 3 - SKU: A0.584694 Composed by Jeff Tincher. Contemporary,Jazz. Score and parts. 16 pages. Jeff Tincher #6019471. Published by Jeff Tincher (A0.584694). You like old-time jazz, this is it. This composition begins with the Marimba playing a walking 4. The other three instruments join in with a triad chord melody. Once the melody passage ends each instrument takes a solo with the Marimba line continuing until the Marimba takes it's turn alone. The quartet then takes on a unison passage before returning to the original groove. Hear the full version of composition on Jeff Tincher's For Percussion Quartet CD. Duration = 4:35. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing
$12.99 ≈
11.98€
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #303...
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Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts. The full score and the individual parts are avaialbe as seperate items.
$64.95 ≈
59.92€
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95 ≈
23.94€
Silent Night Prelude for five marimbas
Silent Night Prelude for five marimbas
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Noël
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Pharaoh Publications
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Silent Night Prelude for five
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Pharaoh Publications
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SheetMusicPlus
Small Ensemble Marimba - Level 2 - SKU: A0.935384 Arranged by Pharaoh Publications. Christian,Christmas. Score and parts. 21 pages. Pharaoh Publications...
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Small Ensemble Marimba - Level 2 - SKU: A0.935384 Arranged by Pharaoh Publications. Christian,Christmas. Score and parts. 21 pages. Pharaoh Publications #5363017. Published by Pharaoh Publications (A0.935384). Silent Night Prelude for five marimbas arr. by Dan Heslink This work is based on the well-loved Christmas carol, composed in 1818 by Franz Xaver Gruber. This theme is so popular that it was declared an intangible cultural heritage by UNESCO in 2011. And the version sung by Bing Crosby in 1935 is the fourth best-selling single recording of all-time. It’s sure to motivate your audience close to Christmas. The Prelude begins with a brisk tempo. Although notated in 3, as is customary in more modern renditions (the original theme was notated in 6), the tempo must be fast enough that two measures of 3 create a binary pairing (like 6/4 in two). It may be necessary to slightly slow down the roll speed to avoid a frenetic sound. The difficulty level is easy. There are no changes of key, and keyboard parts require only two mallets each. The expression of this beautiful tune will be greatly enhanced by exaggerating the contrasts of dynamics. Accompaniment and ornamental figures must at all times be sublimated to the familiar theme. At letter D, players should sing the well-known words in order to lead the audience or congregation in group singing. It would be helpful for the conductor to turn and face the audience at this point. This closing passage may be repeated for any number of sung verses. Use a smooth, relaxed stroke to elicit as much legato as possible. At points a continuous arpeggio accompaniment is divided among the instruments. Care must be taken to keep the sixteenth note speed consistent. Prelude on Silent Night would serve equally well in recital or in a church service. Duration is 2:20. A recording of this arrangement scored for percussion octet is available under the listing for Silent Night Prelude for Percussion Octet. The arranger, Dan Heslink, can be contacted at dan@dheslink.com
$4.99 ≈
4.60€
Fidelity (Instrumental Ensemble)
Fidelity (Instrumental Ensemble)
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Contemporain
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Ron Mallory
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Fidelity
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Paraboloid Press
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SheetMusicPlus
Small Ensemble Cello,Flute,Handbell,Oboe,Percussion,Piano - Level 3 - SKU: A0.1015411 Composed by Ron Mallory. Contemporary. Score and parts. 24 pages. ...
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Small Ensemble Cello,Flute,Handbell,Oboe,Percussion,Piano - Level 3 - SKU: A0.1015411 Composed by Ron Mallory. Contemporary. Score and parts. 24 pages. Paraboloid Press #6668313. Published by Paraboloid Press (A0.1015411). Fidelity contrasts tender moments with a joyous, dance-like middle section to tell a story of a lifetime of faithful love. Written in celebration of the 56th wedding anniversary of the composer's parents, this piece's rich chromatic passages and melodic counterpoint will present an enjoyable challenge for your ensemble and a lovely listening experience for your audience. Flute, Oboe (or Violin/Flute II), Piano, Cello, opt. Handbells, opt. Percussion. Suitable for intermediate through advanced instrumental ensembles.This piece is also available for handbell choir (PAHB008) or piano solo (PAPN008). For more information about Paraboloid Press, visit http://www.paraboloidpress.com.
$19.99 ≈
18.44€
Diehnelt: Striadica - A Symphonic Passage - SCORE
Diehnelt: Striadica - A Symphonic Passage - SCORE
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Kim Diehnelt
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Diehnelt: Striadica - A Sympho
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Kim Diehnelt
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.809057 Composed by Kim Diehnelt. Contemporary. Score and parts. 28 pages. Kim Diehnelt #4367718. Published by Kim Die...
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Full Orchestra - Level 4 - SKU: A0.809057 Composed by Kim Diehnelt. Contemporary. Score and parts. 28 pages. Kim Diehnelt #4367718. Published by Kim Diehnelt (A0.809057). Striadica: A Symphonic PassageThe every-day, reshaped by contingencies. The time-bound path twists through certainty, bewilderment, and fragile reconstruction. Upon release, recognition arrives.Duration: 8 - 9 mins.I was specifically asked to write a work where everyone had something to play. As is my usual style, I tend to allow the second players and less-prominent instruments a chance to shine, and in general shake up the usual orchestral hierarchy. (The second violins, for example, even get their own solo passage!)The wind parts are much more individualized, where the first part may have a completely different line than the second.A colleague who is a trombone player challenged me to write parts that sing for his instrument; hence the word dolce occurs in the low brass parts. Although the low brass parts are rather simple, they do require finesse and nuance.In general, none of the parts are overly challenging; rather, I hope each player finds the music allows them the opportunity to express themselves both individually and as an ensemble.Instrumentation1 Piccolo2 Flutes2 Oboes2 Clarinets in A2 Bassoons4 Horns in F2 Trumpets in C3 Trombones (2 Tenor, 1 Bass Trombone)1 TubaTimpani (B / D)Percussion: Wood Blocks, Snare Drum1 HarpStrings------Commissioned by the Lake Forest Civic Orchestra, IL. Premiere performance May, 2018This item contains ONLY THE SCORE. The PDF, when printed double sided will make for an 8 ½ by 11 score with a left margin suitable for comb binding. (Please consider a larger sized comb than usual so pages may be turned quietly!) A full set of hard-copy parts are available directly from Kim Diehnelt. (Kim@KimDiehnelt.com)© 2017 Kim Diehnelt (ASCAP)
$8.99 ≈
8.29€
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and pa...
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Small Ensemble Flute,Medium Voice,Piano - Level 4 - SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and parts. 39 pages. Musik Fabrik Music Publishing #45421. Published by Musik Fabrik Music Publishing (A0.532835). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$22.05 ≈
20.34€
Love Vast as the Ocean (harp version)
Love Vast as the Ocean (harp version)
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Harpe
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Noël
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arr
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Karen Lakey Buckwalter
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O Come, Little Children
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Love Vast as the Ocean
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Chorister's Guild - Digital
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SheetMusicPlus
36 string harp - SKU: C7.CGIN20 Composed by arr. Karen Lakey Buckwalter. Arranged by Karen Lakey Buckwalter. General. The tune DIM OND JESU by Welsh-Ame...
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36 string harp - SKU: C7.CGIN20 Composed by arr. Karen Lakey Buckwalter. Arranged by Karen Lakey Buckwalter. General. The tune DIM OND JESU by Welsh-American composer Robert Lowry appeared in older Welsh hymnals paired with the text, Praise the Lord, ye heav’ns adore Him. Sometime in the early 1900’s, it was also paired with a William Rees text, Here is Love Vast as t. Score. 4 pages. Chorister's Guild - Digital #CGIN20. Published by Chorister's Guild - Digital (C7.CGIN20). UPC: 749193025963.In response to the huge popularity of Hymns of Praise, here are ten delightful and accessible instrumental arrangements of seasonal carols. With the exception of the percussion book, each book includes a Solo and an Ensemble part for each carol. Basic performance can be with a solo instrument and piano or a solo instrument and accompaniment track. Add to this any combination of instruments using the ensemble parts up to and including full orchestra. The alto sax parts are independent and not just transposed horn parts you so often find. There's even a part book for Baritone Saxophone! While there are some passages that may be a challenge for younger players most of the arrangements are within the skill level of a Grade III band or orchestra composition. Celebrate the season instrumentally with Carols of Christmas. Contents: Gentle Mary, Laid Her Child (Good King Wenceslas); O Come, Little Children; O Come, O Come, Emmanuel; O Little Town of Bethlehem; On Christmas Night, All Christians Sing; Once in Royal David's City; Prepare the Royal Highway (Prepare the Way, O Zion); The Virgin Mary Had a Baby Boy; We Three Kings; What Child Is This.
$6.95 ≈
6.41€
Your Sweet, Sweet Smile
Your Sweet, Sweet Smile
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Contemporain
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Karen Carpenter
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Peet du Toit
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Your Sweet, Sweet Smile
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Peet du Toit
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SheetMusicPlus
Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802683 By Karen Carpenter. By Juice Newton and Otha Young. Arranged by Peet du Toit....
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Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802683 By Karen Carpenter. By Juice Newton and Otha Young. Arranged by Peet du Toit. Contemporary. Score and parts. 16 pages. Peet du Toit #6410509. Published by Peet du Toit (A0.802683). Sweet, Sweet Smile is a C&W song composed by Otha Young and Juice Newton introduced by the Carpenters on their 1977 album Passage. The track features drummer Ron Tutt who regularly backed Elvis Presley.Sweet, Sweet Smile is one of the few songs recorded by the Carpenters which was chosen by Karen Carpenter rather than Richard Carpenter. Juice Newton and her bandleader Otha Young had written Sweet, Sweet Smile for Newton herself to record but Newton's label Capitol Records was not interested in the song. Newton's manager, who was a friend of the Carpenters, was playing the demo of Sweet, Sweet Smile at his home while Karen Carpenter was visiting. Karen Carpenter liked the song and brought it to the attention of her brother Richard Carpenter who'd recall: I liked it immediately...now there's one that, to me, should have done better than it did referring to the track's January 1978 release as the third single from Passage. Acknowledging the Carpenters' career decline, Richard Carpenter would add: I think if someone else had done ['Sweet, Sweet Smile'] at that time, it would have been a bigger hit.Here's your brass quintet and percussion version for enjoyment.
$14.00 ≈
12.92€
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Passage of Time for Percussion Ensemble
