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Old Uncle Ned
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Vous avez sélectionné:
Old Uncle Ned
Partitions à imprimer
18 partitions trouvées
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1
Old Uncle Ned by Stephen C. Foster - Harmonica/Vocal/Chords
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Harmonica
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Americana
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Folk Rock
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Stephen C. Foster
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Old Uncle Ned
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Musicnotes
Stephen C. Foster - Old Uncle Ned Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arran...
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Stephen C. Foster - Old Uncle Ned Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains partial lyrics), scoring: Harmonica/Vocal/Chords, instruments: Voice;Harmonica; 1 pages -- Folk~~Traditional~~American Popular Song
$3.95 ≈
3.69€
Uncle John's March (from Uncle John's Notebook)
Uncle John's March (from Uncle John's Notebook)
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Piano seul
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INTERMÉDIAIRE
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John Pitts, John Pitts
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Uncle John's March
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Intensely Pleasant Music
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.890721 Composed by John Pitts, John Pitts. Patriotic,Romantic Period. Score. 4 pages. Intensely Pleasant Music #4326203. ...
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Piano Solo - Level 3 - SKU: A0.890721 Composed by John Pitts, John Pitts. Patriotic,Romantic Period. Score. 4 pages. Intensely Pleasant Music #4326203. Published by Intensely Pleasant Music (A0.890721). Movement 2 from Uncle John's Sketchbook. Uncle John's old music sketchbook was passed to me in the early 1990s, and it contains a small number of early sketches of musical ideas. In 2011 I turned the first of them into a short late-romantic-style nocturne (the period of music I always associated with him), and this is the second - a march.
$3.99 ≈
3.72€
Mozart (Leopold): Frosch - Parthia (Frog Partita) - lower string trio
Mozart (Leopold): Frosch - Parthia (Frog Partita) - lower string trio
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Classique
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Leopold Mozart
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Ray Thompson
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Mozart
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RayThompsonMusic
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SheetMusicPlus
String Ensemble,String Trio Cello,Double Bass,Viola - Level 4 - SKU: A0.1093951 Composed by Leopold Mozart. Arranged by Ray Thompson. Classical. Score a...
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String Ensemble,String Trio Cello,Double Bass,Viola - Level 4 - SKU: A0.1093951 Composed by Leopold Mozart. Arranged by Ray Thompson. Classical. Score and parts. 23 pages. RayThompsonMusic #698048. Published by RayThompsonMusic (A0.1093951). Sometimes known as Frog Divertimento This is a transcription of the complete piece. Composed originally for vln, vc and db Arranged lower string trio. This Arrangement commissioned by James Warburton for The Lakeridge Trio In this case, an unusual combination of viola/cello and double bass. I have included cello 1 part (in tenor clef) for the viola, and a cello 3 part for the double bass. The you tube vid is of vln, vla and vc. It is unclear as to why it is called a Frog Partita or Divertimento. YouTube Link https://www.youtube.com/embed/W_bz2dj0-oo.
$29.50 ≈
27.53€
Old French Song
Old French Song
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Harpe
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FACILE
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Classique
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Pyotr Ilich Tchaikovsky
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Luis Anjos Teixeira
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Old French Song
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Luis Anjos Teixeira
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SheetMusicPlus
Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Period, Repertoire, Recital. Individual Part, Solo Part. 6 pages. Publi...
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Composed by Pyotr Ilich Tchaikovsky. Arranged by Luis Anjos Teixeira. Romantic Period, Repertoire, Recital. Individual Part, Solo Part. 6 pages. Published by Luis Anjos Teixeira
The Children's Album is dedicated to Tchaikovsky's favorite nephew, Vladimir Davydov. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petya, and that on it is written Dedicated to Volodya Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he's playing, and he might look at the notes, and think that a whole symphony is dedicated to him?.
In a letter of 30 April/12 May 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann`s.
Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Pyotr Jurgenson that he wanted "to write a number of easy pieces, like Kinderstck?. Evidently, the idea of creating a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start working on my collection of miniatures for children".
On 1/13 May the composer wrote to Anatoly Tchaikovsky: "I'm working well and have done rather a lot". On 4/16 May the sketches for all 24 pieces were ready. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May/beginning of June, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolay Kondratyev at Nizy, and in mid/late June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13/25 July.
By 20 July/1 August the copying out was completed, and on 21 July/2 August the composer told Nadezhda von Meck that he was working on the Liturgy of Saint John Chrysostom.
On 29 July/10 August the manuscript of the Children's Album, along with a number of other compositions, was sent to Pyotr Jurgenson in Moscow. In October, after the proofs had been corrected, the album was published.
P.S.- Other than a modest suggestion for an interpretation, this arrangements remain absolute faithful to the original composition.
The first version is in the original key of g minor, the second is transposed to ?a minor?, the third one is intended for a little lap harp and transposed to d minor. It sounds better in the original key of g minor. I used a lot the d minor version and performed it with my little harp very often, always experiencing a very deep musical feedback.
A little nuance was added to the arrangements, thus obliged by its minimal use on the original manuscripts.
I included the original long and expressive leggato bows and left out the staccatos for the left hand between the bars 17 and 20. I felt somehow awkward when applying this technic on the harp myself.
May be the staccatos suites you best, and you should try it.
The score was written on Finale.
The sound file was produced with samplers from Garritan,
intended as an audio support for the presentation of the score.
A reproduction of Tchaikovsky`s original manuscript is added to the file as a reference to the original sources of this composition, it is an extra bonus intentionally didactic and obviously not included in the price of the arrangement itself.
Thank you very much for taking your time to read this text and to listen to the file.
I hope you enjoy the music.
$4.99 ≈
4.66€
Old Uncle Ned
Old Uncle Ned
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Piano seul
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Charles Grobe
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Old Uncle Ned
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Composed by Charles Grobe. Stephen Collins Foster. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.19937). - -...
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Composed by Charles Grobe. Stephen Collins Foster. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.19937). - - - Johns Hopkins University Sheridan Libraries
$5.99 ≈
5.59€
Wellerman
Wellerman
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Nathan Evans
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Joel Jacklich (A
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Wellerman
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Joel Jacklich
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1107440 By Nathan Evans. By Alexander Oriet, David Phelan, and Nathan Evans. Arrang...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1107440 By Nathan Evans. By Alexander Oriet, David Phelan, and Nathan Evans. Arranged by Joel Jacklich (A.S.C.A.P.). 19th Century,Folk,Multicultural,World. 12 pages. Joel Jacklich #710097. Published by Joel Jacklich (A0.1107440). New Zealand-based music teacher and folk music compiler Neil Colquhoun claimed to have collected the song around 1966 from one F. R. Woods. Woods, who was in his 80s at the time, had allegedly heard the song from his uncle. it was attributed to one D.H. Rogers. It has been speculated that Rogers was the uncle of Woods and that Rogers had worked as a teenage pirate or shore whaler in the early-to-mid 19th century, composing this and another song in his later years and eventually passing them on to his nephew as an old man. Nathan Evers recorded the work in 2021 during the COVID pandemic and it became a viral sensation with house-bound Tik-Tokers sparking a whole re-introduction of sea shanties in what was termed Shanty-Tok. This string quartet arrangement gives all instruments a chance at the melody, and adds the affectation of a foot-stomp and a shout at the ends of verses. The history of whaling in New Zealand stretches from the late eighteenth century to 1965. In 1831, the British-born Weller brothers Edward, George, and Joseph, who had emigrated to Sydney in 1829, founded a whaling station at Otakou near modern Dunedin in the South Island of New Zealand, seventeen years before Dunedin was established. The Weller brothers had on their voyage to New Zealand brought in the 'Lucy Ann' (the Weller brothers' barque) a good deal of rum and a good deal of gunpowder. From 1833, the Weller brothers sold provisions to whalers in New Zealand from their base at Otakou, which they had named Otago in approximation of the local Māori pronunciation. The song's lyrics describe a whaling ship called the Billy o' Tea [Note: a billy is a pot in which water is boiled to make tea or coffee] and its hunt for a right whale. The song describes how the ship's crew hope for a wellerman to arrive and bring them supplies of luxuries. According to the song's listing on the website New Zealandfolk Song, the workers at these bay-whaling stations (shore whalers) were not paid wages, they were paid in slops (ready made clothing), spirits and tobacco. The chorus continues with the crew singing of their confidence that the tonguin' will be the last step of their plight. Tonguing in this context refers to the practice of cutting strips of whale blubber to render into oil. Subsequent verses detail the captain's determination to bring in the whale in question, even as time passes and the quartet of whaling boats is lost in the fight. In the last verse, the narrator conveys how the Billy o' Tea is still considered locked in an ongoing struggle with the whale, with the wellerman making his regular call to strengthen the captain and crew. Note from Wikipedia.
$12.99 ≈
12.12€
Abraham’s Daughter: March from the Civil War
Abraham’s Daughter: March from the Civil War
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Stephen R Dalrymple
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but no daughters
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Abraham’s Daughter: Marc
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and...
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Concert Band - Level 3 - SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and parts. 54 pages. Stephen R Dalrymple #3566019. Published by Stephen R Dalrymple (A0.818257). Abraham’s Daughter: March from the Civil War ♫ by Septimus Winter (1861) ♫ with When Johnny Comes Marching Home by Patrick Gilmore a.k.a. Louis Lambert (1863). ♫ arranged for concert band by Stephen R Dalrymple ♫ After a family trip to Gettysburg, Antietam, Harper’s Ferry, and Ford Theater, I created a concert band arrangement to solidify the trip in my mind using a popular Civil War song from the North, “Abraham’s Daughter,” and a song used by both North and South, “Johnny Comes Marching Home.” ♫ Music was a means for soldiers to release the tensions of war. By December 1861 the Union army had 28,000 musicians in 618 bands, not counting soldiers who travelled with violins and other musical instruments. Soldiers often sang as they marched by day and at night in camp. Musical duels were not uncommon between Union and Confederate bands. This idea inspired the last section of the arranger where the 2 songs are played against each other. ♫ Septimus Winner wrote “Abraham’s Daughter” in 1861 for the Minstrel stage. “Abraham’s Daughter” pictures a fresh recruit that is on his way to Washington DC to be processed and trained for future battles. ♫ Given the unpublished verses we have, Abraham’s Daughter was undoubtedly sung and embellished by Union soldiers as they travelled from battlefield to battlefield. ♫ Winner is also known for writing “Ten Little Injuns” “Listen to the Mockingbird” and “Where, Oh Where Has My Little Dog Gone?” ♫ Abraham Lincoln had 4 sons, Robert Todd, Edward Baker, William Wallace, and Thomas (Tad); but no daughters. So, who is Abraham’s daughter? ♫ Oh! Should you ask me who she am, Columbia is her name, sir; She is the child of Abraham, Or Uncle Sam, the same, sir. Now if I fight, why ain't I right? And don't you think I oughter. The volunteers are a-pouring in From every loyal quarter, And I'm goin' down to Washington To fight for Abraham's daughter. ♫ At the beginning of the war, the majority of soldiers, North and South, were fighting to uphold their view of government, each side justifying its position by quoting the Constitution. Southern States saw each State as a sovereign, independent nation. Abraham Lincoln insisted that the United States were one nation. For Abraham Lincoln, the purpose of the war was to preserve the Union. The undivided union was Lincoln’s daughter. ♫ arrangement © 2000, 2013 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Bassoon, Trumpet 1, Trumpet 2, F Horn, Trombone, Treble Clef Baritone, Tuba, Electric Bass, Snare and Bass Drums, Cymbals, and Bells. 3) Condensed Conductor’s Score in a smaller format for use in a 10 inch tablet 4) The same parts formatted for a 10 inch tablet. ♫ The YouTube video contains a full recording.
$19.00 ≈
17.73€
Cygnus X-1 Book Ii: Hemispheres
Cygnus X-1 Book Ii: Hemispheres
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Basse electrique
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Rush
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Tracy Dean McCallum
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Cygnus X-1 Book Ii: Hemisphere
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Tracy Dean McCallum
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SheetMusicPlus
Bass Guitar - Level 4 - SKU: A0.1193208 By Rush. By Alex Lifeson, Geddy Lee, and Neil Peart. Arranged by Tracy Dean McCallum. Rock. Score. 16 pages. Tra...
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Bass Guitar - Level 4 - SKU: A0.1193208 By Rush. By Alex Lifeson, Geddy Lee, and Neil Peart. Arranged by Tracy Dean McCallum. Rock. Score. 16 pages. Tracy Dean McCallum #792663. Published by Tracy Dean McCallum (A0.1193208). When our weary world was youngThe struggle of the ancients first beganThe gods of Love and ReasonSought alone to rule the fate of ManThey battled through the agesBut still neither force would yieldThe people were dividedEvery soul a battlefieldEvery soul a battlefieldThe Universe dividedAs the Heart and Mind collidedWith the people left unguidedFor so many troubled yearsIn a cloud of doubts and fearsTheir world was torn asunder into hollow hemispheresSome fought themselves, some fought each otherMost just followed one anotherLost and aimless like their brothersFor their hearts were so unclearAnd the truth could not appearTheir spirits were divided into blinded hemispheresSome who did not fightBrought tales of old to lightMy Rocinante sailed by nightOn her final flightTo the heart of Cygnus' fearsome forceWe set our courseSpiralled through that timeless spaceTo this immortal placeI have memory and awarenessBut I have no shape or formAs a disembodied spiritI am dead and yet unbornI have passed into OlympusAs was told in tales of oldTo the City of ImmortalsMarble white and purest goldI see the Gods in battle rage on highThunderbolts across the skyI cannot move, I cannot hideI feel a silent scream begin insideThen all at once the chaos ceasedA stillness fell, a sudden peaceThe Warriors felt my silent cryAnd stayed their struggle, mystifiedApollo was astonishedDionysus thought me madBut they heard my story furtherAnd they wondered, and were sadLooking down from OlympusOn a world of doubt and fearIts surface splintered intoSorry hemispheresThey sat a while in silenceThen they turned at last to meWe will call you CygnusThe God of Balance you shall beWe can walk our road togetherIf our goals are all the sameWe can run alone and freeIf we pursue a different aimLet the truth of Love be lightedLet the love of truth shine clearSensibilityArmed with sense and libertyWith the Heart and Mind unitedIn a single perfect sphere
$5.99 ≈
5.59€
Canoe for solo piano
Canoe for solo piano
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Piano seul
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AVANCÉ
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Adrienne Inglis
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Canoe for solo piano
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Adrienne Inglis
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1110965 Composed by Adrienne Inglis (ASCAP). 20th Century,Classical,Historic,Multicultural,World. Score. 24 pages. Adrien...
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Piano Solo - Level 5 - SKU: A0.1110965 Composed by Adrienne Inglis (ASCAP). 20th Century,Classical,Historic,Multicultural,World. Score. 24 pages. Adrienne Inglis (ASCAP) #713232. Published by Adrienne Inglis (ASCAP) (A0.1110965). Colorful, challenging piano solo traces an Ojibwe family’s harrowing journey by canoe down the Brule River and across Lake Superior to safety Canoe (2022) by Adrienne Inglis (ASCAP) For solo piano Duration 9:22 Difficulty 5 advanced Canoe (2022) by Adrienne Inglis (ASCAP), commissioned by Dr. Joseph Choi for solo piano, tells a harrowing story through music of the composer’s Ojibwe ancestor, Wabegiah, and her three young children. Wabegiah grew up at Upper Lake St. Croix in Wisconsin, married the French trader Mr. Couture, and had three children. Mr. Couture died suddenly just as the tensions with the Sioux became quite threatening. To protect her children from being killed by the Sioux, she took them on the long journey in a birch bark canoe down the Brule River and along the coast of Lake Superior all the way to Sault Ste. Marie. As you would expect, much of the music represents water, but it also captures moments during their flight. Loud dissonant chords mark Mr. Couture’s death and Wabegiah’s grief. The unsettling fear motive in Locrian mode predominates as they begin to flee. As they head away from danger, the courage theme follows them downstream. In a dissonant conversation with an Ojibwe man on the Brule River, he refused to give the hungry travelers food, but told them to continue to the river’s mouth to find Wabegiah’s aunt and uncle. The restful and nourishing family time on the shores of Lake Superior allows for variations on the family theme, playful, sleepy, and reflecting on the coming of autumn. With the courage theme as the subject, a fugue tracks their difficult passage across Lake Superior to the safety of Sault Ste. Marie. Recounted by Eliza Morrison, a daughter from Wabegiah’s second marriage, this journey took place in the early 1830s. The three children were born in 1828, 1829, and 1830. The youngest of the children was Angelique, the composer’s great great grandmother.
$9.99 ≈
9.32€
The Drumfire Was Incessant, and Continued All Night With Unabated Fury
The Drumfire Was Incessant, and Continued All Night With Unabated Fury
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Piano seul
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AVANCÉ
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Andrew Harrison
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The Drumfire Was Incessant, an
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Phantom Dog Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1226201 By Andrew Harrison. By Andrew Harrison. 21st Century,Classical,Contemporary,Historic. Score. 31 pages. Phantom Do...
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Piano Solo - Level 5 - SKU: A0.1226201 By Andrew Harrison. By Andrew Harrison. 21st Century,Classical,Contemporary,Historic. Score. 31 pages. Phantom Dog Music #822230. Published by Phantom Dog Music (A0.1226201). The Drumfire Was Incessant, and Continued All Night With Unabated Fury is a solo piano piece, inspired by Newton Wanliss’s harrowing account of the Battle of Pozieres in his 1929 war biography The History of the 14th Battalion, A.I.F. The Battle of Pozieres ran between July and August 1916, as part of the First World War’s Somme Offensive. The composition focuses on the days leading up to August 9th, 1916, when my great-great uncle Private Leslie Robins, an infantryman in the 14th Battalion, was shot and wounded.In the early stages of writing the piece, whilst conducting preliminary research into the Battle of Pozieres, I was struck by the disparity between the British High Command’s notion of formulating a ‘plan’ for the battle, and the actuality of what occurred once soldiers ‘went over the top’ into no-man’s land. This dichotomous concept – exerting control over an inherently fluid and dynamic situation – I found to be most intriguing. It segued neatly into my aesthetic explorations of the role of improvisation (a dynamic process) within a larger notated context (a controlled environment). I decided that this dichotomy would play a fundamental role within the piece.Australian pianist Zubin Kanga commissioned The Drumfire… for his 2012 Spectrum concert series. The piece was given its world premiere on August 11th 2012 at the Melbourne Recital Centre, and was also performed at the Independent Theatre in Sydney on August 16th 2012.
$59.99 ≈
55.99€
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
13.02€
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
13.02€
His Garment of Grace, sacred music for SATB choir
His Garment of Grace, sacred music for SATB choir
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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she bled with no cure
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His Garment of Grace, sacred m
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1232325 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Renaissanc...
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Choral Choir (SATB) - Level 4 - SKU: A0.1232325 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Renaissance,Spiritual. Octavo. 10 pages. Kevin G. Pace #828014. Published by Kevin G. Pace (A0.1232325). Stunningly beautiful, sacred choral music composed by Kevin G. Pace. Text, by Mary Ann W. Snowball, is in reference to Christ healing the woman with the issue of blood.Text:Twelve years she had suffered; she bled with no cure. When drained of all resource, a crowd was then heard. Boldly approaching, she pressed in the throng, For Jesus was nearing, and her faith was strong. This womam pressed forward, though she was unclean. She knew He could heal her; she would not be seen. Reaching his garment, his garment of grace, She mended abruptly in that very place. Her presence was shrouded, but Jesus perceived. He asked who had touched Him and who had believed? Trembling and falling, she bowed at his feet. My daughter, He named her. Now go with My peace.Thy faith, it hath healed thee, for now thou art whole. O, be of good comfort. He honored her soul. Jesus, our Healer, with garments of grace, Will cover our suff'rings with love on his face.
$1.99 ≈
1.86€
His Garment of Grace, a sacred hymn
His Garment of Grace, a sacred hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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she bled with no cure
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His Garment of Grace, a sacred
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1166622 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spi...
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Choral Choir (SATB) - Level 4 - SKU: A0.1166622 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 2 pages. Kevin G. Pace #767002. Published by Kevin G. Pace (A0.1166622). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:Twelve years she had suffered; she bled with no cure. When drained of all resource, a crowd was then heard. Boldly approaching, she pressed in the throng, For Jesus was nearing, and her faith was strong. This womam pressed forward, though she was unclean. She knew He could heal her; she would not be seen. Reaching his garment, his garment of grace, She mended abruptly in that very place. Her presence was shrouded, but Jesus perceived. He asked who had touched Him and who had believed? Trembling and falling, she bowed at his feet. My daughter, He named her. Now go with My peace.Thy faith, it hath healed thee, for now thou art whole. O, be of good comfort. He honored her soul. Jesus, our Healer, with garments of grace, Will cover our suff'rings with love on his face.
$1.99 ≈
1.86€
Emerald Necklace ... The Story of Frederick Law Olmsted (2009) for narrator and orchestra
Emerald Necklace ... The Story of Frederick Law Olmsted (2009) for narrator and orchestra
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Thomas Oboe Lee
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Emerald Necklace ... The Story
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Thomas Oboe Lee
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SheetMusicPlus
Large Ensemble Voice - Level 4 - SKU: A0.869309 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and part...
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Large Ensemble Voice - Level 4 - SKU: A0.869309 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.†I said, “Yes. I would be delighted to do so.†He. 90 pages. Thomas Oboe Lee #431371. Published by Thomas Oboe Lee (A0.869309). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.
$9.99 ≈
9.32€
Emerald Necklace ... The Story of Frederick Law Olmsted (2009) for narrator and orchestra
Emerald Necklace ... The Story of Frederick Law Olmsted (2009) for narrator and orchestra
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Thomas Oboe Lee
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Emerald Necklace ... The Story
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Thomas Oboe Lee
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SheetMusicPlus
Large Ensemble Voice - SKU: A0.869339 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pl...
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Large Ensemble Voice - SKU: A0.869339 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Pluto … The Lord of the Underworld. (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s “Peter and the Wolf.†I said, “Yes. I would be delighted to do so.†He. 90 pages. Thomas Oboe Lee #32449. Published by Thomas Oboe Lee (A0.869339). Program note. Maestro Charles Ansbacher has been a devoted supporter of my work for many years. In the past 6 years he has commissioned me to write two works for his ensemble, the Boston Landmarks Orchestra: 1) Mambo!!! (2003) 2) Pluto … The Lord of the Underworld (2005) This year, 2009, he asked me if I would be interested in writing a work for narrator and chamber orchestra like Prokofiev’s Peter and the Wolf. I said, Yes. I would be delighted to do so. He told me that the subject for this work would be Boston’s own landscape architect, Frederick Law Olmsted. Sure, I said, why not? Charles told me he had a poet in mind who would provide the text, Nancy Stevenson. I said, Great! The work is in four parts, following Ms. Stevenson’s poetic design. I wrote a marching music in Part One depicting Mr. Olmsted when as a child he walked from his home to his aunts and uncles who lived far away. As a young man, Mr. Olmsted went through many jobs until he decided that as a landscape architect he could make cities a better place for children and adults alike. The mayor of Boston hired him to do just that, to make Boston more livable. In Part Two, I wrote presto music depicting the dredging of the Charles River and the planting of trees along its shores. In Part Three, the text describes the Boston Emerald Necklace – the paths that lead from the Fens to the Arboretum to Franklin Park. For this section I chose music that is bucolic and pastoral, a setting that evokes the country side with a flock of sheep, complete with a shepherd and his dog. In the last section the text describes Mr. Olmsted’s dream that in his parks there would be tranquility and rest to the mind … a place where the rich and the poor would play together. The music returns to the legato march that began the work.
$9.99 ≈
9.32€
The Sundials
The Sundials
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Contemporain
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #580083...
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Piano Trio,String Ensemble - SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00 ≈
6.53€
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Old Uncle Ned
