Opening Up

22 themes from the small screen are included in this accessible collection in Big-Note Piano notation. Songs include: Addams Family Theme · The Brady Bunch · Happy Days · I Love Lucy · Jeopardy Theme · Mission: Impossible Theme · Price Is Right (Opening Theme) · Sesame Street Theme · Theme from the Simpsons · SpongeBob SquarePants Theme Song · Won't You Be My Neighbor? · and more. / Niveau : Facile / Date parution : 2019-11-14/ Recueil / Piano

A New Generation of Broadway-The Lion King Wicked Spamalot The Producers ... all have taken Broadway by storm. Celebrate the magic and music of several recent hits in this 14-minute dazzling medley! Songs include: Always Look on the Bright Side of Life As if We Never Said Goodbye The Avenue Q Theme Be Our Guest Circle of Life I Go to Rio My Strongest Suit One Short Day Opening Night Run Freedom Run! and You Can't Stop the Beat.Available separately: SATB SAB and 2-Part. Instrumental ePak includes parts for Trumpet 1 2 Tenor Sax/Clarinet/Flute Trombone Baritone Sax Synthesizer Guitar Bass and Drums. ShowTrax CD also available. Performance Time: Approx. 19:00

Sara Bareilles' 2015 release features a dozen songs from the Broadway adaptation of Adrienne Shelly's 2007 indie comedy-drama Waitress. Our folio features Piano/Vocal/Guitar arrangements of all the songs: 'Bad Idea' 'Door Number Three' 'Everything Changes' 'Lulu's Pie Song' 'Never Ever Getting Rid of Me' 'Opening Up' 'She Used to Be Mine' 'When He Sees Me' and more.

A New Generation of Broadway-The Lion King Wicked Spamalot The Producers ... all have taken Broadway by storm. Celebrate the magic and music of several recent hits in this 14-minute dazzling medley! Songs include: Always Look on the Bright Side of Life As if We Never Said Goodbye The Avenue Q Theme Be Our Guest Circle of Life I Go to Rio My Strongest Suit One Short Day Opening Night Run Freedom Run! and You Can't Stop the Beat.Available separately: SATB SAB and 2-Part. Instrumental ePak includes parts for Trumpet 1 2 Tenor Sax/Clarinet/Flute Trombone Baritone Sax Synthesizer Guitar Bass and Drums. ShowTrax CD also available. Performance Time: Approx. 19:00

Nominated for a 2009 Tony Awardö, [title of show] is a musical that documents its own creation by two Broadway fans who want to enter the New York Musical Theatre Festival-and struggle to complete the show in only three and a half weeks. Our matching folio includes 12 piano/vocal arrangements: I Am Playing Me - Monkeys and Playbills - An Original Musical - September Song - Two Nobodies in New York - Untitled Opening Number - and more. / Voix Et Piano

Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island hashistorically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: ?To capture the idea of interpretation and the concept of reading between the lines the students are invitedto become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures. The students themselves decide how to play thesefigures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast?) dynamics (how loud?) and articulation (smooth short or hard?). To inspire them we use the haiku poem; i.e. the openingsection invites the students to play the material as if it were a stormy wild sea and the closing section invites the students to play the same melodic figures but this time draw their inspiration from Heavens River or as we know it the MilkyWay. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesnt rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas thatwould have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance.? Embrace your players creativity offer them yourtrust and see how far Letter from Sado can take your band!

Openingskoor Uit De Mattheus Passion-Kommt ihr Tochter helft mir klagen' opening chorus from the Matthew Passion.

This work was commissioned by the Friends of Cathedral Music to mark their Diamond Jubilee in 2016 with the intention of performance by as many of the affiliated choirs as possible.   Naturally a celebratory anthem was envisaged but with a text that is general enough to allow its performance throughout the church year.   The opening section features a joyful energetic setting of the first five verses of Psalm 105 (King James Version). A contrastingly quiet and gentle passage follows the text being Robert Herrick’s (1591–1674) To Music. A Song ('‘Music thou Queen of Heaven Care-charming spell …'). The openingmaterial then returns with a short ecstatic organ postlude bringing the piece to its conclusion.

Par SPARKE PHILIP. MASQUERADE was commissioned by Stadtmusik Willisau from Switzerland (Reto Güdel, conductor) to celebrate their 175th anniversary in 2003 and first performed by them in November that year. 1. OvertureThe first movement opens with a fanfare-like figure, featuring the brass, before the main them is introduced over staccato chords. After a short, syncopated interlude a legato theme is introduced in the tenor register and material is developed until the music slows temporarily. The opening theme returns and the ‘tenor’ tune is taken up by the whole band until the opening fanfare returns to close the movement. 2. ElegyThe slow movement opens intensely with a bare two-part theme, whichleads to a passionate chorale-style melody. A second theme is introduced and leads to a climax, a return of the chorale theme and a pianissimo repeat which again leads to a full-band climax. The two-part theme returns quietly to create a peaceful close. 3 InterludeA short movement which changes the mood to introduce:- 4 FinaleThree violent chords preface a lively syncopated opening theme. The trumpets introduce a second idea, which is treated fugally, and this in turn leads to the main melodic idea of the movement, over staccato chords. A contrasting subject is then introduced in the middle of the band, followed by echoes of the first movement fanfare. The opening theme returns and material is revisited until the opening fanfare returns in full to end the work triumphantly. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

This dynamic Easter hymn from the Getty writing group offers a truly impactful Celtic style for the celebration of Christ's resurrection. Joel Raney creatively sets up the opening with a hint of the traditional spiritual 'He Never Said A Mumblin' Word' leading into the opening statement 'How can it be the one who died has borne our sin through sacrifice to conquer every sting of death? Sing sing hallelujah!' The optional rhythm section and violin part brings it all to life in a lilting 6/8 high-energy presentation! Perfect for Easter or Eastertide.This dynamic Easter hymn from the Getty writing group offers a truly impactful Celtic style for the celebration of Christ's resurrection. Joel Raney creatively sets up the opening with a hint of the traditional spiritual 'He Never Said A Mumblin' Word' leading into the opening statement 'How can it be the one who died has borne our sin through sacrifice to conquer every sting of death? Sing sing hallelujah!' The optional rhythm section and violin part brings it all to life in a lilting 6/8 high-energy presentation! Perfect for Easter or Eastertide.