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I Will Follow Him Viola
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Vous avez sélectionné:
I Will Follow Him Viola
Partitions à imprimer
24 partitions trouvées
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1
I Will Follow Him (i Will Follow You)
I Will Follow Him (i Will Follow You)
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Alto seul
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FACILE
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Little Peggy March
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Kaiserin Rebecca
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I Will Follow Him
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Kaiserin Rebecca
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SheetMusicPlus
Viola Solo - Level 2 - SKU: A0.1218958 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, and Norman Gimbel. Arranged by Kai...
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Viola Solo - Level 2 - SKU: A0.1218958 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, and Norman Gimbel. Arranged by Kaiserin Rebecca. Contemporary,Film/TV,Instructional,Pop. Individual part. 2 pages. Kaiserin Rebecca #815373. Published by Kaiserin Rebecca (A0.1218958). For viola solo. Key: C major. Duration: 1'21.
$4.99 ≈
4.47€
I Will Follow Him (i Will Follow You)
I Will Follow Him (i Will Follow You)
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Alto, Piano
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FACILE
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Little Peggy March
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Kaiserin Rebecca
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I Will Follow Him
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Kaiserin Rebecca
#
SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.1190544 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, and Norman Gimbel. Arranged by Ka...
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Piano,Viola - Level 2 - SKU: A0.1190544 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, and Norman Gimbel. Arranged by Kaiserin Rebecca. Comedy,Contemporary,Film/TV,Pop,Wedding. Score and part. 4 pages. Kaiserin Rebecca #790127. Published by Kaiserin Rebecca (A0.1190544). For viola solo and piano accompaniment with chords.Key: C major. Duration: 1'21.
$8.99 ≈
8.05€
I Will Follow Him (i Will Follow You)
I Will Follow Him (i Will Follow You)
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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INTERMÉDIAIRE/AVANCÉ
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Little Peggy March
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Isaac Gonçalves
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I Will Follow Him
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Simple Score
#
SheetMusicPlus
String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 4 - SKU: A0.742770 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, ...
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String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 4 - SKU: A0.742770 By Little Peggy March. By Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, and Norman Gimbel. Arranged by Isaac Gonçalves. Children,Film/TV,Pop,Standards,Traditional. Score and parts. 17 pages. Simple Score #350904. Published by Simple Score (A0.742770). Classic musica by Sister Act for String Quintet. Violin, viola, cello and bass. Score and Parts. 17 pages.
$13.00 ≈
11.64€
I Will Follow Him (I Will Follow You) - String Quartet
I Will Follow Him (I Will Follow You) - String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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Contemporain
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Little Peggy March
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Lorento Golofeev
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I Will Follow Him
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Lorento Golofeev
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SheetMusicPlus
String Quartet - Digital Download By Little Peggy March. Arranged by Lorento Golofeev. Set of Parts. 6 pages. Published by Lorento Golofeev...
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String Quartet - Digital Download By Little Peggy March. Arranged by Lorento Golofeev. Set of Parts. 6 pages. Published by Lorento Golofeev
A string quartet version of "I Will Follow Him" as performed by Little Peggy March
All of my arrangements include bowings, dynamics and precise articulation for easier sight-reading. Many more arrangements, both pop and classical, are available for purchase. If you liked the quality of my work, please check my list often as it is constantly expanding.
To hear some of my arrangements in full, please visit the page of Ion String Quartet on YouTube: https://www.youtube.com/channel/UCIcg2FJoN0FN_-hb8XeBaVA
$12.99 ≈
11.63€
I Will Follow Him - Viola
I Will Follow Him - Viola
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Alto seul
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Pop musique
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Del Roma and J
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Larry Moore
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I Will Follow Him - Viola
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Del Roma and J.W. Stole. Arranged by Larry Moore. Orchestra. For Viola. Pop. Individual instrument part. 1 pages. Duration 2:15. Published by Hal Leonard - D...
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By Del Roma and J.W. Stole. Arranged by Larry Moore. Orchestra. For Viola. Pop. Individual instrument part. 1 pages. Duration 2:15. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.27€
"Quincie", Quintet For Two Violins, Viola, Cello And Piano
"Quincie", Quintet For Two Violins, Viola, Cello And Piano
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Piano Quintette: piano, 2 violons, alto, violoncelle
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AVANCÉ
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Cello - Will Mace, Robert Asto
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"Quincie", Quintet F
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Geraldine
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SheetMusicPlus
Piano Quintet Cello,Piano,Viola,Violin - Level 5 - SKU: A0.1312666 By Cello - Will Mace, Robert Aston - Piano, Viola - Zoe Greenhalgh, and Violins - Mat...
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Piano Quintet Cello,Piano,Viola,Violin - Level 5 - SKU: A0.1312666 By Cello - Will Mace, Robert Aston - Piano, Viola - Zoe Greenhalgh, and Violins - Matthew Chadbond and James Warburton. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary. 222 pages. Geraldine (Denny) Green at Oakmountmusic #901515. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1312666). ALL PURCHASES COME WITH SCORE AND PARTSIn 4 movements – total duration 35 minutes.Quincie was written between July 2018 and January 2019. I had just begun receiving the main ideas for it when a pianist I know locally, Robert Aston, happened to ask me if I had written anything for piano and string quartet. I believe that Quincie “heard†this and that was the trigger and the door unlocking. Because the next thing I knew I was absolutely engulfed in the writing of this work for the next six months.Like all my works, this one is an emotional journey, and my own nickname for it is Quincie, The Comic Healer. Each movement tells a progressive story of the different stages of a journey through a long period of grief, illness, depression and chronic anxiety. The overall mood of the whole piece is extremely energetic, loving, warm, compassionate and audience friendly, and while there is some heart ache in the middle of the first movement, the work is also extremely comical and hilarious in its third and fourth movements. It has a great sense of slapstick humour alongside the deep ache of grief and unfathomable sadness. It is completely tonal and in a highly Romantic style.It has enjoyed the following performances:April 27th 2019 at the Triangle Church, Bolton BL1 5QP 7.30pm by the Pennine QuintetJune 1st 2019 at the Victoria Hall, Knowsley St. Bolton BL1 2AS at 1pm Lunchtime concert, by the Pennine QuintetJuly 7th 2019 at the Horwich Community Centre, Beaumont Rd, BL6 7BG at 2.45pm as part of the Horwich Music Festival.A great start for a brand new work! My gratitude to the Pennine Quintet and concert organizers is immense and not something I will ever forget. Thank you. The following performance was recorded and filmed at the Horwich Music Festival on July 7th 2019 and added to YouTube with permission of the Pennine Ensemble. Many many thanks.Very sadly, in June 2020, the pianist, Robert Aston, passed away from cancer. Without his wonderful support and encouragement this work never would have had even one performance let alone FOUR! Therefore, I have now fully dedicated this piece to Robert as the least I could do to thank him for all the wonderful music he gave so freely to Bolton, UK, over his lifetime. Thank you, Robert. You were FAB!!!
$75.00 ≈
67.17€
16 Favourite Easter Hymns for Viola Duet
16 Favourite Easter Hymns for Viola Duet
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2 Altos (duo)
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FACILE
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Musique Sacrée
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Various
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David McKeown
#
 
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Viola Duet Viola - Level 2 - SKU: A0.587853 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred,Standards. Score. 17 pages. David Mc...
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Viola Duet Viola - Level 2 - SKU: A0.587853 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred,Standards. Score. 17 pages. David McKeown #5025825. Published by David McKeown (A0.587853). 16 Favourite Easter Hymns for Viola Duet is a beautiful collection of well-known traditional Easter hymns. They are arranged in two parts for Viola. You can watch and listen to two of the hymns (the Alto Saxophone version), via the YouTube link above.16 Favourite Easter Hymns for Viola Duet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Viola Duet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$8.99 ≈
8.05€
16 Favourite Easter Hymns for Clarinet and Viola Duet
16 Favourite Easter Hymns for Clarinet and Viola Duet
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Clarinette et Alto
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FACILE
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Musique Sacrée
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Various
#
David McKeown
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 2 - SKU: A0.587877 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred,St...
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Instrumental Duet Clarinet,Instrumental Duet,Viola - Level 2 - SKU: A0.587877 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred,Standards. Score and parts. 17 pages. David McKeown #5025791. Published by David McKeown (A0.587877). 16 Favourite Easter Hymns for Clarinet and Viola Duet is a beautiful collection of well-known traditional Easter hymns. They are arranged in two parts for Clarinet and Viola. You can watch and listen to two of the hymns (the Clarinet in Bb version), via the YouTube link above.16 Favourite Easter Hymns for Clarinet and Viola Duet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Clarinet and Viola Duet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$8.99 ≈
8.05€
16 Favourite Easter Hymns for Solo Viola and Piano
16 Favourite Easter Hymns for Solo Viola and Piano
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Alto, Piano
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FACILE
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Musique Sacrée
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Various
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David McKeown
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16 Favourite Easter Hymns for
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David McKeown
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SheetMusicPlus
Piano,Viola - Level 2 - SKU: A0.587897 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. Score and part. 26 pages. David McKeown ...
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Piano,Viola - Level 2 - SKU: A0.587897 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. Score and part. 26 pages. David McKeown #5037745. Published by David McKeown (A0.587897). 16 Favourite Easter Hymns for Solo Viola and Piano is a beautiful collection of well-known traditional Easter hymns. Both the Piano score and separate Viola part are included in the single PDF file.16 Favourite Easter Hymns for Solo Viola and Piano are simply arranged in easy keys and are fun to play for soloists with a year or two’s experience and above. The piano part is a little more difficult. Teachers and students alike will find 16 Favourite Easter Hymns for Solo Viola and Piano useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60 ≈
6.81€
Largo (from "Symphony No. 9") ("From the New World") (Db) Viola Quintet)
Largo (from "Symphony No. 9") ("From the New World") (Db) Viola Quintet)
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romant...
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String Ensemble,String Quintet Viola - Level 3 - SKU: A0.813839 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533949. Published by Regis Bookshar (A0.813839). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Viola Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Viola Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 2 Violins, 1 Viola, 1 Ce
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 2 Violins, 1 Viola, 1 Ce
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813833 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533931. Published by Regis Bookshar (A0.813833). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 2 Violins, 1 Viola, 1 Violoncello and 1 Double Bass, he has made quite a few other arrangements of this sel.
$15.00 ≈
13.43€
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 3 Violins, 1 Viola, 1 Ce
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Quintet - 3 Violins, 1 Viola, 1 Ce
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Ensemble,String Quintet - Level 3 - SKU: A0.813835 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Per...
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String Ensemble,String Quintet - Level 3 - SKU: A0.813835 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 18 pages. Regis Bookshar #6533939. Published by Regis Bookshar (A0.813835). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Quintet) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a String Quintet, consisting of 3 Violins, 1 Viola and 1 Violoncello, he has made quite a few other arrangements of this selection which ar.
$15.00 ≈
13.43€
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95 ≈
23.24€
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95 ≈
17.87€
I Will Follow Him - Violin 3 (Viola Treble Clef)
I Will Follow Him - Violin 3 (Viola Treble Clef)
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Violon (partie séparée)
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Pop musique
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Del Roma and J
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Larry Moore
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I Will Follow Him - Violin 3
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Del Roma and J.W. Stole. Arranged by Larry Moore. Orchestra. For Violin 3 (Viola Treble Clef). Pop. Individual instrument part. 1 pages. Duration 2:15. Publi...
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By Del Roma and J.W. Stole. Arranged by Larry Moore. Orchestra. For Violin 3 (Viola Treble Clef). Pop. Individual instrument part. 1 pages. Duration 2:15. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.27€
Prelude and Allegro, "Urbanalia"
Prelude and Allegro, "Urbanalia"
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Joshua A
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Prelude and Allegro, "Urb
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Joshua A Idio
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1074907 Composed by Joshua A. Idio. 20th Century,Classical,Contest,Festival,Multicultural,Standards,Wo...
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String Quartet String Quartet - Level 3 - SKU: A0.1074907 Composed by Joshua A. Idio. 20th Century,Classical,Contest,Festival,Multicultural,Standards,World. Score and parts. 55 pages. Joshua A Idio #679162. Published by Joshua A Idio (A0.1074907). Composed by Joshua A. Idio. Chamber Music. String Quartet. This is a two-movement piece comprising of a prelude and an allegro. The entire piece is meant to convey a simple story of witnessing the change of different lifestyles, from the peaceful and simple rural life to the electrifying grandeur of urban city life. The prelude, signifying the rural atmosphere, begins with unsettling chords that feel seasonal and constantly moving. The different string melodies are as lovingly soothing as playing in the grassy fields and mountains. They are fun, pleasant, and whimsical, and they express the rather playful and tranquil setting of rural living. The beginning chords may feel unusually active, but it also adds to the color of this calming tranquility. Life couldn't be any better. In contrast to the fun and joyful theme of the prelude, the allegro embodies the absolute hustle and bustle of the big city. Explosive harmonies progress through the movement. Melodies from the prelude now intertwine with this new faster theme, playing more lively and vigorous. The mood has changed. Everything seems fast-paced and maybe overloading. But, maybe that's not a bad thing. A bit into the movement, as the hustle and bustle finally slow down, the essence of the prelude returns to calm the music. Homesickness mixed with overwhelming emotions is just as powerful of an expression as joy or anger. Filled with confidence and resolve, the music quickens back into its fast theme. The nature of intense focus, inspired by the urban surroundings, mixes with the joy and fun of the old ways. Everything now seems not just more familiar and comforting, but lively as well. As the music reaches its end, those unsettling chords from the prelude return to once again remind us that the rural lifestyle will always be a part of us. Maybe this city life won't be such a bad thing. We experience the best life when it comes with change. While I never lived in a rural community myself, I can empathize with the experience of people who have from their own stories and emotions. And when they move into the overwhelming cityscape, they sometimes either break down or build up. In the end, though, I can never really understand what it is like until I move into a rural community. But I know nothing will ever change how they grew up there, as the experiences always seem to follow them into the next chapter of their adventures. And it is because of that kind of beautiful resolve, did I nickname this Prelude and Allegro Urbanalia. When life meets change it opens up a whole new story.
$45.00 ≈
40.30€
Portals of Catedral de Orihuela.
Portals of Catedral de Orihuela.
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Dr Anthony Costandius
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Portals of Catedral de Orihuel
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Anthony Costandius Music
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Sco...
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Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Score and parts. 72 pages. Anthony Costandius Music #14899. Published by Anthony Costandius Music (A0.938331). A piece for solo Alto Saxophone and String Orchestra. The church was made a cathedral in 1564 when the city was granted its bishopric. The cathedral was built on the site of the Aljama Mosque in the first third of the 14th century. The name of this structure, El Salvador Cathedral, literally means the Cathedral of the Transfiguration. The cathedral has three portals: the Puerta de las Cardenas (Portal of the Chains, 14th century) is in Islamic style, the Puerta de Loreto (mid-15th century) is Gothic, and Puerta de la Anunciación (Portal of the Annunciation, built in 1588 by Juan Inglés), which has a Renaissance-style triumphal arch-shape. Part 1: Introitis. The saxophone mimics a chant based on the metre of the Introitis: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem (Bedew us, heavens, from above; ye clouds, rain down the Just One. Let the earth be opened up, and produce the Saviour. The intervals 1 (tonic), 5 (dominant), 6 (super-dominant) and 4 (subdominant), based on the year 1564 referred to in the section above, are used as the basis for the harmony progression for the string section. Part 2: Puerta de las Cardenas Acts 12:3–19 says that Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison, thinking it was a vision (verse 9). The prison doors opened of their own accord, and the angel led Peter into the city. The visit from the angel, release from the chains and the prison, as well as the journey into the city is expressed against the background of the Islamic design of the portal, hence the referral to Arabian rhythms and scales in the music. Part 3: Puerta de Loreto The Puerta de Loreto is of gothic design. Loreto refers to the Italian city of Loreto in the province of Ancona. It is said that the holy house where the Mother Mary lived in Nazareth was translated miraculously to Loreto on December 19, 1294 - more than 700 years ago. The house did not go straight to Loreto, but in the year 1291 it was miraculously transported from Nazareth to the town of Tersatto in Dalmatia (Croatia). The local population, filled with astonishment, did not know how to explain its sudden appearance. Their Bishop, who was gravely ill, now appeared in their midst cured. He had prayed to the Virgin Mary that he might be strong enough to see the prodigy for himself, and the Mother of God appeared to him, surrounded by Angels, saying: My son, you have called for me, and here I am. I came to give you succor and to reveal to you the mystery [of the translation of the Holy House] you desire to know. The holy dwelling is the very house where I was born and raised. It was there that I received the good news brought by the Archangel Gabriel and I conceived the Divine Infant by the operation of the Holy Ghost. It was there that the Word was made flesh... For you to bear witness to all that I am telling you now, you will suddenly be cured and return to full health after the long illness you have borne, so that through you all will believe in this miracle. Part 4: Puerta de la Anunciación The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning Saviour. Part 5: Exit The work ends with a re-interpretation of the first section, the Introitis. This is to bind the work together, but also to again reflect on the text, as stated: Rorate, caeli, desuper, et nubes pluant iustum: a periatur terra, et germinet Salvatorem, and to comtemplate how that gives meaning to the being, essence and history of the Catedral de Orihuela.
$10.00 ≈
8.96€
Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O
Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O
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Orchestre à Cordes
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Classique
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Ludwig van Beethoven, Cees Nie
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Upstream Music
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Maestoso and Fugue in D minor
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Upstream Music
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SheetMusicPlus
String Orchestra - SKU: A0.933521 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 18 pages...
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String Orchestra - SKU: A0.933521 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 18 pages. Upstream Music #6353295. Published by Upstream Music (A0.933521). Both the Adagio molto (Hess 40) and the unfinished, originally intended Fugue date from November, 1817. It was the publisher Tobias Haslinger who requested a prelude and fugue for a publication in line with works published earlier. Beethoven completed the prelude but with the fugue he stopped after merely four bars of music. The short original fugue theme was later inserted into the second part (Molto vivace) of the Ninth Symphony (Opus 125).The prelude (Beethoven did not give any time indication) starts with 37 bars of solemn music followed by 12 bars Allegro. In terms of form, rhythm, and key, this material shows great similarity to the Molto vivace from Opus 125 referred to above. The present version has been arranged for a string orchestra instead of for a string quintet, thus being the first publication which enables it to be performed in its entirety. In order to balance the foundation, I opted for introducing a contrabass part, which largely follows the cello part composed by Beethoven. As regards the phrasing, dynamics, and rests as well as the time indication, this publication follows those in Willy Hess’ publication. So the prescribed time ‘Adagio molto’ is not that of Beethoven himself.The arguments to link the Maestoso to the Fugue in D major (Opus 137) published later are multiple. In the first place, the Fugue also dates from 1817. Secondly, the key is the same as is the number of instruments for a string quintet with two separate alto parts. Not only does the original fugue theme start at the tone a, but the timing too is the same, that is 3/8. So it seems reasonable to assume that Beethoven intended both works as a couple.The abnormal rhythmics of the bars 38 up to and including 49 is remarkable. I have preserved it because the part has been authentically composed by Beethoven, while it did not seem logical to me to have it immediately followed by the Fugue completed by myself. I have composed a number of bars of music based on the beginning of the prelude by way of a smooth transition.In the Fugue, I closely adhere to Beethoven, at the same time introducing a contrabass part here as well, so as to support the cello. At a number of places in the score, Beethoven recorded neither music nor rests. This refers to the bars 5 (second viola and cello), 11, 12, 25 and 26 (first and second violins), 39 to 41 (all parts), 43 and 44 (all parts except the first violin), 45 (first viola) and finally 45 and 46 (second violin). As in Willy Hess’ publication, I have just inserted rests here.
$29.00 ≈
25.97€
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Orchestra)
Largo (from "Symphony No. 9") ("From the New World") (Db) (String Orchestra)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Classique
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Musique Sacrée
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Antonin Dvorak
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Regis Bookshar
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Largo
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Regis Bookshar
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.813844 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards....
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String Orchestra - Level 3 - SKU: A0.813844 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Concert,Contemporary,Folk,Romantic Period,Standards. Score and parts. 31 pages. Regis Bookshar #6537751. Published by Regis Bookshar (A0.813844). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (String Orchestra) - Intermediate - . This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (23 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, he has created this version for a String Orchestra. Parts included with the purchase are a 1st Violin, a 2nd Violin, a 3rd Violin, a 1st Viola, a 2nd Viola, a 1st Violon.
$18.00 ≈
16.12€
The Brass Player: Fantasy on Ich bin ein Musikant
The Brass Player: Fantasy on Ich bin ein Musikant
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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F
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The Brass Player: Fantasy on I
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,W...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,World. 77 pages. Sweetwater Brass Press #893335. Published by Sweetwater Brass Press (A0.1303802).     A song learned in primary school years and years ago had words something along the lines of the following:         Oh! I’m a young musician,         From distant lands I come.         Singing and playing,         Ever I’m straying.    Also known as “I Am a Fine Musician,†“I Am a Gay Musician†and perhaps other titles, that song is still around and has evolved into many different versions. The original was probably a German folk song from the early 1800s. As published in an 1889 collection of children’s songs, it bears the title, “Ich bin ein Musikant.â€Â That translates as “I am a musician.â€Â In the lyrics the musician claims to be “from Schwabenland†(Swabia) and to play geige (violin: “Dide schum schum schumâ€), flöte (flute: “Päde wäpp päpp päppâ€) and basse (bass: “Dide schum schum schump, päde wäpp päpp päpp). Later versions list the instruments played by the musician as bassoon, bells, clarinet, drum, guitar, piano, piccolo, triangle, trombone, trumpet, tuba, tympani, viola and just about every instrument and noisemaker you can think of.     Anyway, that’s the tune on which “The Brass Player†was built. But here, the musician is concerned only with brass. Which brass? Well, possibly trumpet. Or maybe horn in F. Or trombone. Or tuba. Or perhaps all four; certainly, all are featured in this piece.    “The Brass Player†comprises four sections. The first is in the key of C major and is played at a moderate 2/4 tempo. After a brief Trumpet/Tuba ostinato, Trombone introduces the main theme. Other instruments join in and play around with a variation or two.     The second section is a sweet, nostalgic rendition in 4/4 carried mainly by Horn in F, with help from Trumpets and Trombone.     In section three, the mood changes radically. Time signature goes to 3/4; tempo speeds up to vivace and the key changes to B Minor. All five instruments participate, and some odd things take place rhythmically at I through K (measures 200 through 262), but Tuba seems to carry the melody most of the time.    Section four, in G Major, clips along at a fast 4/4 time. It returns to the main theme and (as in “Ich bin ein Musikant†and its multitudinous derivations) presents in call-and-response form. The first few measures are straight, but discord quickly creeps in. The melody begins to include smears, flutter tonguing and off-beat rhythmic figures. There is even a brief section in G Minor. Gradually, order and theme are restored and the piece ends in a glorious, upbeat statement.    This piece, completed in 2023, consists of 398 measures, a little over nine minutes in length. There are four changes of key and four changes of time signature. Trumpet 1’s highest note is A above its staff; Trombone’s is F above the staff. Trumpet 2 has a few G-below-its-staff notes.    The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. Contact him at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$6.99 ≈
6.26€
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