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Time After Time, piano cover
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Time After Time, piano cover
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Bach: Wachet auf for Bass Flute & Piano
Bach: Wachet auf for Bass Flute & Piano
#
Classique
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for Bass Flut
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jmsgu3
#
SheetMusicPlus
Bass Flute,Instrumental Solo,Piano - Level 2 - SKU: A0.549846 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Ea...
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Bass Flute,Instrumental Solo,Piano - Level 2 - SKU: A0.549846 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554877. Published by jmsgu3 (A0.549846). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95 ≈
23.35€
Bach: Wachet auf for Oboe d'Amore & Piano
Bach: Wachet auf for Oboe d'Amore & Piano
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Classique
#
Johann Sebastian Bach
#
James M
#
#
Bach: Wachet auf for Oboe d'Am
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jmsgu3
#
SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554879. Published by jmsgu3 (A0.552247). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95 ≈
23.35€
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Violin and Piano
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Violin and Piano
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Cello,Oboe,Piano,Violin - Level 3 - SKU: A0.1417698 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #...
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Cello,Oboe,Piano,Violin - Level 3 - SKU: A0.1417698 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #999237. Published by ACORDO Sheet Music (A0.1417698). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The cello part is the same as the piano's left hand and is optional.
$3.60 ≈
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Preciosa (Lyric-Chordsheet)
Preciosa (Lyric-Chordsheet)
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Pop musique
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Roberto Domino Basile
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#
Preciosa
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Roberto Domino Music
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SheetMusicPlus
Small Ensemble - SKU: A0.1024563 Composed by Roberto Domino Basile. Pop. Score and parts. 4 pages. Roberto Domino Music #4823355. Published by Roberto D...
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Small Ensemble - SKU: A0.1024563 Composed by Roberto Domino Basile. Pop. Score and parts. 4 pages. Roberto Domino Music #4823355. Published by Roberto Domino Music (A0.1024563). An orchestral ballad gracing the critical moments in time just before, during, and after the untimely demise of an innocent teenager. MUSICIANS: Vocals: Katie Jade / Flute: Carina Bruwer / Violin and Viola: Nathaniel Wolkstein / Cello: Yoed Nir / Double Bass: Rick Robinson / Piano: Reproduced using Vienna Symphonic Library (Yamaha CFX - Synchron Series) / Percussion: Vince Greeson Key: E minor with key change to A minor Tempo: 88 bpmTime Signature: 4/4 Full Score and Parts: rodomusic.biz Cover art design: Roberto Domino Basile.
$2.99 ≈
2.80€
The Shepherd's Song
The Shepherd's Song
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Classique
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Felix Bartholdy Mendelssohn
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Berthold Tours
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The Shepherd's Song
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Schott Music - Digital
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SheetMusicPlus
Flute solo or with piano - easy to intermediate - SKU: S9.Q11445 Composed by Felix Bartholdy Mendelssohn. Arranged by Berthold Tours. This edition: Shee...
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Flute solo or with piano - easy to intermediate - SKU: S9.Q11445 Composed by Felix Bartholdy Mendelssohn. Arranged by Berthold Tours. This edition: Sheet music. Il Flauto traverso. Downloadable. Schott Music - Digital #Q11445. Published by Schott Music - Digital (S9.Q11445). The work The Shepherd’s Song by Felix Mendelssohn, presented as a reprint for the first time, is his only known original composition for flute. Although Mendelssohn frequently and skilfully used wind instruments in his orchestral works, he never provided them with significant parts, neither in his chamber music works not as solo instrument, which may have been due to the technical shortcomings of the instrument prior to the revolutionary inventions of Theobald Böhm. The short composition The Shepherd’s Song was published for the first time after the death of the composer in 1889, including an additional piano accompaniment and an alternative violin part. The arranger and editor was the organist and composer Berthold Tours (1838-1897). Since the flute literature contains only few musical pieces of major composers of the Romantic era, it is surprising that this composition, which had been printed more than 100 years ago, has remained undiscovered for such a long time, thus remaining widely unknown to the public until today. The Shepherd’s Song can be performed with flute (violin) solo or with the piano accompaniment by Berthold Tours.The Shepherd’s Song ist Mendelssohns einzige bekannte Originalkomposition für Flöte. Die kurze Komposition wurde erst nach seinem Tod 1889 mit einer hinzugefügten Klavierbegleitung und einer alternativen Violinstimme publiziert. Da die Flötenliteratur nur wenig Musik bedeutender Komponisten der Romantik enthält, ist es verwunderlich, dass diese vor über 100 Jahren gedruckte Komposition so lange unentdeckt blieb und somit für die Allgemeinheit bis heute weitgehend unbekannt bleiben konnte.
$7.99 ≈
7.48€
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Clarinet and Piano
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Clarinet and Piano
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Johann Sebastian Bach
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Kamada,Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Clarinet,Oboe,Piano - Level 3 - SKU: A0.1426546 Composed by Johann Sebastian Bach. Arranged by Kamada,Mikio. Baroque. 5 pages. ACORDO Sheet Musi...
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Bassoon,Clarinet,Oboe,Piano - Level 3 - SKU: A0.1426546 Composed by Johann Sebastian Bach. Arranged by Kamada,Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007246. Published by ACORDO Sheet Music (A0.1426546). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for oboe and clarinet. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60 ≈
3.37€
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for two Clarinets and Piano
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for two Clarinets and Piano
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Clarinet,Piano - Level 3 - SKU: A0.1426548 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1...
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Bassoon,Clarinet,Piano - Level 3 - SKU: A0.1426548 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007248. Published by ACORDO Sheet Music (A0.1426548). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for Clarinets. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60 ≈
3.37€
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Cor Anglais and Piano
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Cor Anglais and Piano
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
English Horn,Oboe,Piano - Level 3 - SKU: A0.1426549 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #...
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English Horn,Oboe,Piano - Level 3 - SKU: A0.1426549 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007249. Published by ACORDO Sheet Music (A0.1426549). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for Oboe and Cor Anglais. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60 ≈
3.37€
" Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Flute and Piano "
" Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Flute and Piano "
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Johann Sebastian Bach
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Kamada, Mikio
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" Sinfonia from Cantata &
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Flute,Oboe,Piano - Level 3 - SKU: A0.1422054 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music ...
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Bassoon,Flute,Oboe,Piano - Level 3 - SKU: A0.1422054 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1003395. Published by ACORDO Sheet Music (A0.1422054). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for oboe and flute.  The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60 ≈
3.37€
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Flute, Clarinet and Piano
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Flute, Clarinet and Piano
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Level 3 - SKU: A0.1426547 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007247. Published by ACOR...
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Level 3 - SKU: A0.1426547 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007247. Published by ACORDO Sheet Music (A0.1426547). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for flute and clarinet. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60 ≈
3.37€
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 page...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$13.95 ≈
13.05€
Der fliegende Holländer
Der fliegende Holländer
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Classique
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Richard Wagner
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Der fliegende Holländer
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder -
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 4 · 2 · 3 · 1 - P. - Str. Auf dem Theater: 3 Picc. · 6 Hr. · Tamt. · Windschleuder - SKU: S9.Q25918 Romantische Oper in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25918. Published by Schott Music - Digital (S9.Q25918). German.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (1842-1880 version) This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner’s works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances.†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).
$47.99 ≈
44.91€
Rubank Treasures for French Horn
Rubank Treasures for French Horn
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Rubank Treasures for French Ho
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Rubank Publications
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SheetMusicPlus
French Horn, Horn - Grade 2-4 SKU: HL.121442 Book with Online Audio (stream or download). Edited by Himie Voxman. Rubank Book/Audio Products. Clas...
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French Horn, Horn - Grade 2-4 SKU: HL.121442 Book with Online Audio (stream or download). Edited by Himie Voxman. Rubank Book/Audio Products. Classical, Contest, Festival. Softcover Media Online. 24 pages. Published by Rubank Publications (HL.121442). ISBN 9781480352506. UPC: 884088923129. 9x12 inches.Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK+ audio tools. This new collection of 15 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Air Gai (Berlioz) • Alleluja from Exsultate, Jubilate, K. 165 (Mozart) • American Patrol (Meacham) • Andante Cantabile (Tartini) • Après un Rêve (Faurè) • Ballade (Shchyolokov) • Heroica (DeLamater) • In the Hall of the Mountain King from Peer Gynt (Grieg) • Pavane pour une Infante Defunte (Ravel) • Prelude and Fanfaronade (Koepke) • Serenade (Gounod) • Starling (VanderCook) • Serenade, Op. 22 No. 1 (Böhme) • Toreador's Song from Carmen (Bizet) • Where'er You Walk (Handel).
Song List
: Alleluja Andante Cantabile Where'er You Walk In The Hall Of The Mountain King Ballade Starling American Patrol Toreador's Song Pavane pour une Infante Defunte Air Gai Apres un Reve (After A Dream) Heroica Prelude And Fanfaronade Serenade Op. 22, No. 1 Serenade (Sing, Smile, Slumber)
$17.99 ≈
16.84€
The Flying Dutchman
The Flying Dutchman
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Classique
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der ...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99 ≈
40.23€
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 ≈
60.78€
Tannhäuser und der Sängerkrieg auf Wartburg
Tannhäuser und der Sängerkrieg auf Wartburg
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Classique
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Richard Wagner
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Tannhäuser und der Sä
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Schott Music - Digital
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SheetMusicPlus
SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: v...
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SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25917. Published by Schott Music - Digital (S9.Q25917). German • French.An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten major operas by Richard Wagner in all major versions. For the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria.•The score is aligned with the performance material of the Complete Edition. •All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. •The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces.•The prefaces are printed in three languages (German, English, French). •The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition.TANNHÄUSERFor the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina UrchueguÃa have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. With the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice. (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability.All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work On the Performance of Tannhäuser, published in 1852.For example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that […] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved. (piano reduction, p. 221)In the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance:The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra. (piano reduction, p. 367)3 (3. auch Picc.) · 2 · 2 · Bassklar. [nicht in Pariser F.] · 2 - 2 Ventilhr. · 2 Waldhr. · 3 Ventiltrp. · 3 · 1 [Pariser F.: Ophicléïde] - P. S. (Trgl. · Beck. · Tamb. · gr. Tr. · Tamt. [Pariser F.] · Kast. [Pariser/Wiener F.) (2-3 Spieler) - Str. Auf dem Theater: 2 Picc. [P/W: 1] · 4 Fl. [P/W: 2] · 4 Ob. [P/W: 2] · Engl. Hr. · 6 Klar. [P/W: 3] · 4 Fg. [P: 2, W: 0] - 12 Wald-Hr. · 12 Trp. [P: 9] · 4 Pos. [P/W: 4 Hr.] - Trgl. · Beck. · Tamb. · Kast. [nur in P] - Hfe. [in P/W].
$53.99 ≈
50.52€
Marche Funebre
Marche Funebre
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Sigismund von Neukomm
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Marche Funebre
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Bisel Classics - Digital
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SheetMusicPlus
String quintet - SKU: BQ.979-0-50179-047-0 Composed by Sigismund von Neukomm. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. ...
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String quintet - SKU: BQ.979-0-50179-047-0 Composed by Sigismund von Neukomm. Edited by Stephen Begley. This edition: softcover. Bisel Classics. Score. With Text Language: English / German. 22 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-047-0). ISBN 9790501790470.The Marche Funebre was originally written for fortepiano and placed after the elegy of the Elegie harmonique as a salute to Jan Ladislav Dussek, the Czech piano virtuoso whose talents, would prefigure those of Liszt, Mendelssohn, Chopin in a way that marked him as a man ahead of his time. Neukomm's homage is no less original and in a powerful emotional statement on the loss of a great and talented friend Neukomm exploits the rich sonority of the string quintet.
$16.95 ≈
15.86€
Desert Sea - Accompaniment Mp3
Desert Sea - Accompaniment Mp3
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Musique Sacrée
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Deborah Johnson
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Desert Sea - Accompaniment Mp3
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Deborah Johnson
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SheetMusicPlus
Level 3 - SKU: A0.1378539 Composed by Deborah Johnson. Christian,Jazz,Praise & Worship,Religious,Spiritual. Accompaniment. Duration 240. Deborah Johnson...
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Level 3 - SKU: A0.1378539 Composed by Deborah Johnson. Christian,Jazz,Praise & Worship,Religious,Spiritual. Accompaniment. Duration 240. Deborah Johnson #963228. Published by Deborah Johnson (A0.1378539). Deborah Johnson's Desert Sea is an exceptional new spiritual composition inspired by Jeremiah 17:7-8. With its captivating blend of unison verses transitioning between 3/4 and 4/4 rhythms and powerful choral SATB choruses, this song is ideal for special occasions. Its profound messaging resonates strongly, making it suitable for both large and small choirs, as well as solo performances. Whether for church services or inspirational events, Desert Sea is a valuable addition to any repertoire. Download available on Spotify and Amazon (https://amzn.to/3SuQ2Hc) The sheet music is also available, which is 12 pages, including cover. Video at: http://youtu.be/3Yj-cBS2Ets Background: Originally written as a solo, Desert Sea was performed at many events, then arranged it for choir when Deborah attended graduate school at Long Beach State University, studying under Frank Pooler who worked with the legendary music group, The Carpenters. The University Choir and band performed Desert Sea, along with other arrangements by Deborah. She then included her choral arrangement in her Master’s Thesis, which traced the history of Spirituals and Gospel songs and their influence on modern jazz. Deborah’s original arrangement of Desert Sea was modeled after a popular Christian artist at the time, Keith Green, with driving eighth notes throughout. (you can find it in the LBSU Archives!) The current updated arrangement has been re-worked, as it alternates between 3-4 and 4-4 time, feeling like 7-4. Deborah and her son, David, perform all the vocals on this recording. Deborah Johnson is not only a headliner artist, but speaker, author, composer and educator with a Master of Arts degree in composition and arranging. In the past years, she has been up for multiple Grammy Awards for her original songs, arrangements and albums. With over two dozen albums, hundreds of songs, three full-length original musicals with National Distribution and multiple books under her belt, these all make Deborah a part of a unique group of women entertainers and composers in the world. She has also been one of the first-call pianists for Disney for a number of years.  For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com Music and Lyrics by Deborah Johnson. (ASCAP) Basic production and piano tracking by Deborah. All vocals by Deborah and David Johnson. Additional production, guitars and bass by Michael Ferenci. Recorded at Ferenci Studios, Silverlake, CA.
$8.99 ≈
8.41€
A Special Place
A Special Place
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Hi-5 and Kathleen de Leon Jone
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Amphibia Cultural Legacy
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A Special Place
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Amphibia Cultural Legacy
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SheetMusicPlus
Strings Bass Voice,Choir,Clarinet,Digital Keyboard,Double Bass,Electric Bass Guitar,Electronic Keyboard,Flute,Harp,Horn,Low Voice,Marimba,Medium Voice,Medium-Hi...
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Strings Bass Voice,Choir,Clarinet,Digital Keyboard,Double Bass,Electric Bass Guitar,Electronic Keyboard,Flute,Harp,Horn,Low Voice,Marimba,Medium Voice,Medium-High Voice,Oboe,Piano and Keyboard,Piccolo,Saxophone,Synthesizer,Tuba - SKU: A0.1205354 By Hi-5 and Kathleen de Leon Jones. By Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. Broadway,Classical,Comedy,Film/TV,Musical/Show,New Age. 4 pages. Amphibia Cultural Legacy #803545. Published by Amphibia Cultural Legacy (A0.1205354). Amphibia Cultural Legacy has done it again with their latest cover remix of Hi-5's A Special Place. This time, they've added a beautiful orchestral twist to the beloved song that Kathleen de Leon Jones originally sang. The new version takes the listener through a heartfelt and emotional musical experience.The orchestra adds depth and dimension to the already powerful lyrics, highlighting the importance of having a special place in our hearts where we can go to find comfort and peace. The sweeping strings and soaring horns give an uplifting energy, making this rendition perfect for any occasion. Whether you need a pick-me-up after a long day or want something inspiring to listen to during your morning routine, Amphibia Cultural Legacy's take on A Special Place is sure to hit all the right notes.
$60.00 ≈
56.15€
How Deep Is Your Love from the Motion Picture SATURDAY NIGHT FEVER
How Deep Is Your Love from the Motion Picture SATURDAY NIGHT FEVER
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Bee Gees
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Unimusic Group
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How Deep Is Your Love from the
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Unimusic Academy
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SheetMusicPlus
Small Ensemble Bass Guitar,Piano - Level 2 - SKU: A0.809389 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Unimusic Group. Dance,...
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Small Ensemble Bass Guitar,Piano - Level 2 - SKU: A0.809389 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Unimusic Group. Dance,Disco. Score and parts. 10 pages. Unimusic Academy (Academia Unimusica) #5776705. Published by Unimusic Academy (Academia Unimusica) (A0.809389). How Deep Is Your Love is a pop ballad written and recorded by the Bee Gees in 1977 and released as a single in September of that year. It was ultimately used as part of the soundtrack to the film Saturday Night Fever. It was a number three hit in the United Kingdom and Australia. In the United States, it topped the Billboard Hot 100 on 25 December 1977 (becoming the first of six consecutive US number-one hits), ended the 10-week reign of Debby Boone's You Light Up My Life and stayed in the Top 10 for a then-record 17 weeks. This record would hold for fifteen years, until it was broken by End of the Road by Boyz II Men. This song spent 19 weeks in the top-ten after the introduction of Nielsen Soundscan in 1991 allowed singles to achieve longer runs on the charts. How Deep Is Your Love is the Bee Gees' signature song. It spent six weeks atop the US adult contemporary chart. It is listed at number 22 on the 55th anniversary edition of Billboard's All Time Top 100.[1] Alongside Stayin' Alive and Night Fever, it is one of the group's three tracks on the list. The song was covered by Take That for their 1996 Greatest Hits album, reaching number-one on the UK Singles Chart for three weeks.[2]
$8.00 ≈
7.49€
Say Something
Say Something
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A Great Big World
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B
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Say Something
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B. McCormick
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1417312 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Song...
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C Instrument - Level 2 - SKU: A0.1417312 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by B. McCormick. Pop,Singer/Songwriter. Lead Sheet / Fake Book. 5 pages. B. McCormick #998860. Published by B. McCormick (A0.1417312). About the Song “Say Something†is an emotional piano ballad that tugs at the heartstrings. Originally penned by indie band A Great Big World, it gained widespread recognition when powerhouse vocalist Christina Aguilera lent her voice to a haunting duet version. Here’s what you need to know: Origins: Written by duo members Ian Axel and Chad King, alongside Mike Campbell, the song was initially recorded by Axel for his solo album This Is the New Year (2011). Later, A Great Big World reimagined it for their debut album Is There Anybody Out There? (2013) .After Aguilera performed the song on The Voice, it skyrocketed to fame. The struggle of giving up on a relationship is beautifully encapsulated in the plea to “say something†and salvage what’s slipping away .At the 57th Annual Grammy Awards, “Say Something†clinched the coveted Best Pop Duo/Group Performance award, showcasing its impact and emotional resonance .Why Choose This Sheet Music? Authentic Arrangement: Our lead sheet and guitar chord sheet faithfully capture the essence of the original recording. Whether you’re a solo performer or part of a band, you’ll find the arrangement true to the song’s soulful vibe. Easy to Play: Guitarists will appreciate the clear chord diagrams and strumming patterns provided. Even beginners can master this heartfelt tune. Teaching Tool: If you’re an educator, use this sheet music to teach your students about song structure, dynamics, and emotional expression. Perfect for Covers: Whether you’re performing at a coffee shop, a virtual concert, or a cozy gathering, “Say Something†resonates with audiences. It’s a timeless choice for covers and live performances. Potential Uses Weddings: Picture a tender moment during the wedding ceremony or first dance. “Say Something†sets the mood beautifully. YouTube Covers: Create captivating content by recording your own rendition. Share it with the world! Music Classes: Use it as a teaching aid in vocal or instrumental lessons. Emotional Film Scenes: Filmmakers, take note—this song adds depth to poignant scenes. Get Your Copy Today Don’t miss out on this heartfelt piece. Download your “Say Something†lead sheet and guitar chord sheet now. Let the music speak for itself. Connect with Us! Follow us on social media to stay updated on new releases, musical tips, and exclusive content: You can connect on most social media through our handle: @ResourcefulArrangementsÂ
$4.99 ≈
4.67€
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Time After Time, piano cover
