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Vous avez sélectionné:
The Flying Hat
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The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
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"The Flying Hat" for chamber orchestra (excerpts)
"The Flying Hat" for chamber orchestra (excerpts)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Panagiotis Theodossiou
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"The Flying Hat" for
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Panagiotis Theodossiou
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Pan...
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Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Panagiotis Theodossiou #6019921. Published by Panagiotis Theodossiou (A0.886736). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006) a. A Little Fanfare b. The Hatland c. Dad, the Giant Hat d. Dance of the Little Hats e. The Wind f. The Flight g. Farewell A fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleutherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
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The Flying Hat (piano 4 hands version)
The Flying Hat (piano 4 hands version)
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1 Piano, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Panagiotis Theodossiou
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The Flying Hat
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Panagiotis Theodossiou
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 4 - SKU: A0.886720 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Contemporary,Stan...
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Instrumental Duet Instrumental Duet,Piano - Level 4 - SKU: A0.886720 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Contemporary,Standards. Score and parts. 83 pages. Panagiotis Theodossiou #4790233. Published by Panagiotis Theodossiou (A0.886720). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006)a. A Little Fanfareb. The Hatlandc. Dad, the Giant Hatd. Dance of the Little Hatse. The Windf. The Flightg. FarewellA fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleftherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands op.34b, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet op.34c for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been transcribed for Chamber Orchestra op.34d and performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
$15.00 ≈
13.99€
The Flying Hat (Woodwind Quintet version)
The Flying Hat (Woodwind Quintet version)
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Panagiotis Theodossiou
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The Flying Hat
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Panagiotis Theodossiou
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - SKU: A0.886719 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Contemporary,Standards. 76 pages. ...
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Woodwind Ensemble,Woodwind Quintet - SKU: A0.886719 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Contemporary,Standards. 76 pages. Panagiotis Theodossiou #4780999. Published by Panagiotis Theodossiou (A0.886719). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006)a. A Little Fanfareb. The Hatlandc. Dad, the Giant Hatd. Dance of the Little Hatse. The Windf. The Flightg. FarewellA fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleftherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands op.34b, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet op.34c for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been transcribed for Chamber Orchestra op.34d and performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
$20.00 ≈
18.66€
The Flying Hat, Scenes from a Fairy Tale for Orchestra
The Flying Hat, Scenes from a Fairy Tale for Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Panagiotis Theodossiou
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The Flying Hat, Scenes from a
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Panagiotis Theodossiou
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.886737 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 220 pages. Panag...
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Full Orchestra - Level 4 - SKU: A0.886737 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 220 pages. Panagiotis Theodossiou #6027245. Published by Panagiotis Theodossiou (A0.886737). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006) a. A Little Fanfare b. The Hatland c. Dad, the Giant Hat d. Dance of the Little Hats e. The Wind f. The Flight g. Farewell A fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleutherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.https://www.youtube.com/watch?v=mqaKLf2QUgE&t=478shttps://www.youtube.com/watch?v=-tsNKs5i2b0
$60.00 ≈
55.98€
1917: The Halifax Disaster
1917: The Halifax Disaster
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by Wi...
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Concert Band - Level 4 - SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99 ≈
21.45€
Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
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2 Trompettes (duo)
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FACILE
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including more of the modern d
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Eddie Lewis
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Joy, Joy, Everyone Is Flying -
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Tiger Music
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SheetMusicPlus
Trumpet Duet Trumpet - Level 2 - SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Pub...
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Trumpet Duet Trumpet - Level 2 - SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Published by Tiger Music (A0.1088949). Give your students something modern to work on. Joy, Joy, Everyone Is Flying trumpet duet uses a modern compositional technique. Joy, Joy Everyone Is Flying trumpet duet is actually part of my recent modern composition series. The idea was to see if I could write one of those compositions for trumpet duet with Trumpet Tyro limitations. Being composed from a nontraditional technique, Joy, Joy, Everyone Is Flying does not sound like the typical “do re mi†beginner band music. As an educational piece, it serves as a wonderful opportunity to expose the students to exotic sounds. The piece begins like a traditional imitative piece, but you soon hear a non-traditional modality. That modality is emphasized in the B section with grace notes that give it an eastern hint. Joy, Joy, Everyone Is Flying is a short duet, lasting under a minute. This is because it is written for students who were beginners only months ago. Other Duet Books I have published similar duets to this one in my two other duet books for this level. The first and most popular is Celebrations which has trumpet duets for all skill levels. The second, which has some of the Celebrations duets, is called Twenty Trumpet Tyro Duets. In the trumpet community we use duets as educational tools. They are a wonderful way to expose students to counterpoint, different harmonies and different rhythmic ideas. By including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment. The Experimental Music Series I’ve published a number of these experimental works for trumpet and brass instrumentations. The newer ones were in response to the popularity of the fishing suites. I had gone years without writing any of these compositions and wanted to apply the techniques to trumpet trio. The fishing suites are a suite of suites, each suite being dedicated to a different composition technique. Of those three suites, Catch Suite is the one that uses the same technique as Joy, Joy, Everyone Is Flying. Other compositions utilizing this compositional technique include The Lotus Eater and Voice of the Prophets. SKILL LEVEL The skill level for Joy, Joy, Everyone Is Flying is Trumpet Tyro. Trumpet Tyro is the second of seven levels in our system. This is music for trumpet students with a range up to fourth space E. The music in this level is limited to three flats or sharps. We almost bumped this piece up into the Trumpet Player level because of all the accidentals, but eventually decided to keep it in the Trumpet Tyro level. Technically, the accidentals all fall within acceptable keys for this level, so we kept it at the lower level. That said, because it is non-traditional, it will take a little longer to learn. The melodic sounds will not come as readily as the traditional “do re mi†stuff. Practice Recommendations Listening to the recording is a very important part of learning something with new sounds. You want to be able to hear those sounds. Here’s an interesting bit of trivia for you… When I am using one of these original compositional techniques, I know when I’ve made a mistake because I can hear that it sounds different. I believe this is the sign of a technique that works. If there’s a mistake, the composer should be able to hear that there’s something wrong. Well, performing music that utilizes these sorts of non-traditional techniques goes far better when the performers can also hear the music that way.
$4.99 ≈
4.66€
The Daedalus and Icarus Journey
The Daedalus and Icarus Journey
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Apostolos Paraskevas
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The Daedalus and Icarus Journe
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Silver Sickle Publications
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Voice - SKU: A0.942097 Composed by Apostolos Paraskevas. 20th Century,Contemporary,Romantic Period,World. Sco...
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Instrumental Duet Guitar,Instrumental Duet,Voice - SKU: A0.942097 Composed by Apostolos Paraskevas. 20th Century,Contemporary,Romantic Period,World. Score and parts. 11 pages. Silver Sickle Publications #6104711. Published by Silver Sickle Publications (A0.942097). This guitar and vocal work were originally set on the Robert Frost poem ‘Stopping by Woods on a Snowy Evening’, and was written for a lecture series at Boston University given by Lukas Foss entitled ‘Words on Music. Some years later I set out to publish the work and found that the estate of the late R. Frost frowned upon this particular practice and after a second failed attempt to get permission to publish the work, I decided to write my own verse for this composition (my first actually) and use a subject familiar to me, the story of Daedalus and Icarus Journey to freedom.After his arrival in Crete, Daedalus found that Minos would not let him leave. He subsequently obtained wax and feathers and fashioned wings for himself and his son Icarus. With these they succeeded in flying away, but Icarus, flying too near to the sun, melted his wings, fell into the sea near Crete, and drowned; Daedalus escaped to Italy only to fall into the hands of the local King Kokalos who drowned him in hot water. The Daedalus and Icarus JourneyEscape from here is what I’ll doI have a plan I thought it throughThe waves beneath us deadly wildI’ll fly up high, it’s just the sky That was a dreadful thing to sayTo fly so high, you can’t survive.Your wings, your soul and frozen smile,The sun will burn and you will die. The Death you seek I am sure you’ll get,He’s there for you he won’t forget.He will be fast and kind with you,If He survived why not you too? It’s time to go the sky gets blueMy mind will be so close to youYou cannot scare me I have to try,The time is right, let’s say goodbye. Text by Apostolos Paraskevas
$8.99 ≈
8.39€
The Volcano`s Lake
The Volcano`s Lake
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Harpe
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FACILE
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Luis Anjos Teixeira
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The Volcano`s Lake
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Luis Anjos Teixeira
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SheetMusicPlus
Harp - Level 2 - SKU: A0.889438 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score. 6 pages. Luis Anjos Teixeira #4758665....
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Harp - Level 2 - SKU: A0.889438 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score. 6 pages. Luis Anjos Teixeira #4758665. Published by Luis Anjos Teixeira (A0.889438). The piece is thou very simple and easy to perform. It is appropriate for the harp and it sounds great on any kind of harp. When using a little lap harp, one can easily transpose the bass voice an octave higher. It is a flexible piece, you can play it slower or a little faster and even the arpeggio in the end that becomes quite easy after some practice could be replaced by a simple glissando. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Your Soul. It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events or even joyful social meetings. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira „Now comes the Little Story The Volcano`s Lake was composed on a volcano called Pico that stands out about 2000 meters above see level right in the middle of the Atlantic ocean. From the bottom of the ocean to its pick it is higher than mount Everest. I like to know that there are an enormous amount of different species of whales that live in this area and many others that go there strictly for romance. I went there to perform with the harp but was at the same time deeply morning the death of my Dear Cat Mary Jane that tragically passed away the day before the flight. In this isle I was having at night strange dreams of epic battles and fights between flying Angels and Demons. In one of these dreams „Time and Matter were a byproduct of „Music itself. The wind was blowing, the volcano was dancing and the water on the lake was whispering enchanting melodies. As soon as I woke up I wrote some notes before they vanished away, just a fragment of an idea of what I was listening in the dream. I named it „The Volcano`s Lake, because the „Lake was comforting me with its melodies, I realized that my tears were also becoming the lake itself and in this lake I was becoming one with Mary Jane and all the rest of the Universe. Thanks to Claudia Eppelt for the all the Love the wonderful painting and cover design. Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Mary Jane, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira Disclaimer: The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.
$6.79 ≈
6.33€
The Flying Dutchman
The Flying Dutchman
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Classique
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der ...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99 ≈
40.11€
Floating, Falling, Flying (parts for other instrumental combinations)
Floating, Falling, Flying (parts for other instrumental combinations)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Tradit...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.1188952 Composed by Brian Chung. Contemporary,Film/TV,Thriller,Traditional. 9 pages. Brian Chung Music #788560. Published by Brian Chung Music (A0.1188952). Floating, Falling, Flying was originally written as trio for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus). For those who have already purchased that original score, these supplemental parts will make possible the following instrumental combinations:Clarinet (for Oboe) creates a Clarinet/Violin/Piano trio.Clarinet (for Violin) creates an Oboe/Clarinet/Piano trio (heard on sample audio file).Flute (for Violin) creates an Oboe/Flute/Piano trio.The Piano part in the original score is unchanged for all combinations. For Flute/Clarinet/Piano, please purchase the separate version optimized for that instrumentation (#1288002 on Sheet Music Direct, #A0.1192373 on Sheet Music Plus). Composer's Commentary on YouTube:  https://youtu.be/7Isy0t6VzasSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece for student concerts, recitals and Solo and Ensemble festivals.Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$6.00 ≈
5.60€
The Carioca
The Carioca
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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FACILE
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Film/TV
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Caetano Velosa
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Peet du Toit
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The Carioca
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Peet du Toit
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1410576 By Caetano Velosa. By Edward Eiscu, Gus Kahn, and Vincent Youmens. Arranged by Peet...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1410576 By Caetano Velosa. By Edward Eiscu, Gus Kahn, and Vincent Youmens. Arranged by Peet du Toit. Folk,Pop. 9 pages. Peet du Toit #992996. Published by Peet du Toit (A0.1410576). (The) Carioca is a 1933 popular song with music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn, as well as the name of the dance choreographed to it for the 1933 film Flying Down to Rio. It was sung in the film by Alice Gentle, Movita Castaneda and Etta Moten and danced by Fred Astaire and Ginger Rogers as part of an extended production dance number illustrating the ballroom dance. The dance, which was choreographed by the film's dance director, Dave Gould, assisted by Hermes Pan, was based on an earlier stage dance with the same name by Fanchon and Marco.The word Carioca refers to inhabitants of Rio de Janeiro.Astaire and Roger's short dance has historical significance, as it was their first screen dance together. Though billed fourth and fifth, many felt they stole the film, which became a big hit for RKO. The song was nominated for the Academy Award for Best Original Song at the 7th Academy Awards, but lost to an even bigger Astaire and Rogers production number, The Continental from The Gay Divorcee (1934), their next film together and their first starring vehicle. They were billed by RKO as The King and Queen of 'The Carioca.'While the song has become a jazz standard, the dance did not have longevity. Following the success of Flying Down to Rio, an attempt was made to propagate it as a new ballroom dance, without much success. It was a mixture of samba, maxixe, foxtrot and rhumba. The distinctive feature of the dance â?? at least as portrayed in the movie â?? was that it was to be danced with the partners' foreheads touching.A French cover of the song was introduced in the comedy movie La Cité de la Peur (1994) along with a dance, also meant in a humoristic way. Both the song and the dance appear in the film that takes place in Cannes during the Cannes film festival in France, and have become a reference for a whole generation in France. 25 years later, in May 2019, the Carioca scene of the movie was celebrated in Cannes with a flashmob dance and by the actors themselves who danced again the mythic scene included in La Cité de la Peur.
$15.00 ≈
13.99€
The Star-Spangled Banner (Duet for alto saxophone and euphonium)
The Star-Spangled Banner (Duet for alto saxophone and euphonium)
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Saxophone et Guitare
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INTERMÉDIAIRE
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John Stafford Smith
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Alexander L Burden (b
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The Star-Spangled Banner
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Alexander Burden
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Guitar,Instrumental Duet - Level 3 - SKU: A0.899869 Composed by John Stafford Smith (1750-1836), Francis Scott Key (177...
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Instrumental Duet Alto Saxophone,Guitar,Instrumental Duet - Level 3 - SKU: A0.899869 Composed by John Stafford Smith (1750-1836), Francis Scott Key (1779-1843). Arranged by Alexander L Burden (b.1989). Graduation,Holiday,Patriotic. Score and parts. 4 pages. Alexander Burden #3573183. Published by Alexander Burden (A0.899869). 2018 Instrumental Arranging Contest EntryGenre: National Anthem, PatrioticLength: 1:20Instrumentation: Alto Saxophone and EuphoniumThe Star-Spangled Banner is the national anthem of the United States. The lyrics come from Defence of Fort M'Henry, a poem written on September 14, 1814, by the then 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory.The poem was set to the tune of a popular British song written by John Stafford Smith and renamed The Star-Spangled Banner. With a range of 19 semitones, it is known for being very difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.This fun and accessible arrangement is perfect for sporting events, school and corporate functions, parades, private events and any other occasion that calls for use of the Star-Spangled Banner!The Arranger:Email: alburden9012@eagle.fgcu.eduAlexander Burden is a Florida born, professional musician and music educator residing in Southwest Florida. There, he is the music teacher at Westside Elementary in Clewiston. Concurrent with his duties at Westside, he also teaches private and group instrumental music lessons and preforms regularly with various professional ensembles throughout Southwest Florida. Burden holds a Bachelor of Music Education degree with an instrumental concentration from the Bower School of Music at Florida Gulf Coast University in Fort Myers, Florida. There he studied under world renowned saxophonist Mario Bernardo. He also holds an Associate of Arts degree with a Music Education and Saxophone Performance concentration from Eastern Florida State College where he was a student of James Bishop. During his time at the Bower School of music, he served as principle saxophonist in the FGCU Wind Orchestra, lead alto in the Jazz Band Flight: Jazz at FGCU, and played soprano saxophone in the Bower Saxophone Quartet. Alexander was selected to play tenor saxophone in the 2017 National Intercollegiate Band as well as principle alto saxophone in the 2017 Florida All-State Intercollegiate Band and tenor saxophone in the 2016 Florida All-State Intercollegiate Band. In November of 2015, Alexander participated in a critically acclaimed performance at Carnegie Hall in New York City with the FGCU Wind Orchestra.
$5.99 ≈
5.59€
Those Magnificent Men In Their Flying Machines
Those Magnificent Men In Their Flying Machines
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Ron Goodwin
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Derek Hasted
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Those Magnificent Men In Their
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.797771 Composed by Ron Goodwin. Arranged by Derek Hasted. Contemporary,Film/TV. Score and parts. 16 pages. De...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.797771 Composed by Ron Goodwin. Arranged by Derek Hasted. Contemporary,Film/TV. Score and parts. 16 pages. Derek Hasted #5311943. Published by Derek Hasted (A0.797771). THOSE MAGNIFICENT MEN - 4 GUITARS or LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes 'Those Magnificent Men In Their Flying Machines' is the theme music to the film of the same name and was composed by Ron Goodwin.This arrangement stays faithful to much of the original but there are some tiny little changes that make this version fit a guitar ensemble more comfortably...The key is more guitar-friendly.You can choose between 3 different 2-bar introductions.The more complex vocal alliterations in the original are slimmed down to avoid the guitar parts sounding too fussy.Some of the original features (sliding trombone notes, snare drums and tricky decorations) have been removed or offered as alternative. The full score and parts explain where there are choices that can be made.This arrangement will suit a large ensemble as well as a quartet, and it's been proven in concert on more than one occasion before it was published.I hope you enjoy playing it as much as my two ensembles (and their audiences!)
$4.99 ≈
4.66€
The Saddest Noise
The Saddest Noise
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separation’s sorceryÂ
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Christopher Tin and Emily Dick
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Lisa Ochoco
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The Saddest Noise
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Lisa L Ochoco
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SheetMusicPlus
Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1171219 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contempora...
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Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1171219 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contemporary,Film/TV. 21 pages. Lisa L Ochoco #771557. Published by Lisa L Ochoco (A0.1171219). Christopher Tin is a contemporary composer who is best known for his choral piece called Baba Yetu.  With an impressive educational background in music composition, English literature, and art history, his compositions come to life with like nothing that I've experienced before. It is simply some of the most beautiful and expressive music I have ever heard.  The Lost Birds is a musical memorial to bird species driven to extinction by humans.  Tin’s soundtrack is a fantastic work of art, with its soaring musical phrases that make you feel like you’re flying. The Saddest Noise is a choral piece, with its lyrics taken from Emily Dickinson’s poem, “The Saddest Noise, the Sweetest Noise,†which talks of the relationship between beauty and grief. The saddest noise, the sweetest noise, The maddest noise that grows, The birds, they make it in the spring, At night’s delicious close.   Between the March and April line That magical frontier Beyond which summer hesitates, Almost too heavenly near.   It makes us think of all the dead That sauntered with us here, By separation’s sorcery Made cruelly more dear.   It makes us think of what we had, And what we now deplore. We almost wish those siren throats Would go and sing no more.   An ear can break a human heart As quickly as a spear, We wish the ear had not a heart So dangerously near.   The Lost Birds soundtrack was sung by the choral group, Voces8, who made the music and poetry come to life in a way that not many other groups could.  It is simply beautiful. This arrangement is scored for flute choir – 4 C, alto, bass, and contrabass.  There is an optional cello part that doubles the contrabass.  This is not a strict transcription - I added moving parts and changed/added notes to make it of more interest as an instrumental piece.  I hope you like it. Duration: 3.5 minutes.
$16.00 ≈
14.93€
The Saddest Noise
The Saddest Noise
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separation’s sorceryÂ
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Christopher Tin and Emily Dick
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Lisa Ochoco
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The Saddest Noise
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Lisa L Ochoco
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1171245 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Co...
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1171245 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contemporary,Film/TV. 21 pages. Lisa L Ochoco #771583. Published by Lisa L Ochoco (A0.1171245). Christopher Tin is a contemporary composer who is best known for his choral piece called Baba Yetu.  With an impressive educational background in music composition, English literature, and art history, his compositions come to life with like nothing that I've experienced before. It is simply some of the most beautiful and expressive music I have ever heard.  The Lost Birds is a musical memorial to bird species driven to extinction by humans.  Tin’s soundtrack is a fantastic work of art, with its soaring musical phrases that make you feel like you’re flying. The Saddest Noise is a choral piece, with its lyrics taken from Emily Dickinson’s poem, “The Saddest Noise, the Sweetest Noise,†which talks of the relationship between beauty and grief.   The saddest noise, the sweetest noise, The maddest noise that grows, The birds, they make it in the spring, At night’s delicious close.   Between the March and April line That magical frontier Beyond which summer hesitates, Almost too heavenly near.   It makes us think of all the dead That sauntered with us here, By separation’s sorcery Made cruelly more dear.   It makes us think of what we had, And what we now deplore. We almost wish those siren throats Would go and sing no more.   An ear can break a human heart As quickly as a spear, We wish the ear had not a heart So dangerously near.   The Lost Birds soundtrack was sung by the choral group, Voces8, who made the music and poetry come to life in a way that not many other groups could.  It is simply beautiful.This arrangement is scored for clarinet choir – 4 Bb, alto, bass, and contrabass.  There is an optional Eb part to play in addition to, or in lieu of, the 1st Bb part.  This is not a strict transcription - I added moving parts and changed/added notes to make it of more interest as an instrumental piece.  I hope you like it. Duration: 3.5 minutes.
$16.00 ≈
14.93€
Carson Cooman: Flying Machine (2008) for orchestra , score
Carson Cooman: Flying Machine (2008) for orchestra , score
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Orchestre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Flying Machine
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533576 Composed by Carson Cooman. Contemporary. Score and parts. 53 pages. Musik Fabrik Music Publishing #3024993. Pu...
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Full Orchestra - Level 5 - SKU: A0.533576 Composed by Carson Cooman. Contemporary. Score and parts. 53 pages. Musik Fabrik Music Publishing #3024993. Published by Musik Fabrik Music Publishing (A0.533576). Flying Machine (2008) for orchestra was commissioned by the Harvard-Radcliffe Orchestra incelebration of two anniversaries: the orchestra’s 200th season and James Yannatos’s 45th anniversaryas conductor. The work is dedicated to James Yannatos in celebration of his 80th birthday and hisyears of distinguished activity as conductor, composer, and mentor.The music is joyous in spirit, inspired by a sense of discovery and fulfillment—the exhilaration thatcomes from knowledge well-used. The poetic image is taken from the age of the invention of flight.The piece’s opening section is “workshop/construction†music—filled with a sense of unfolding,building, and assembly. The musical material is presented in a series of overlapping guises; the restof the work unfolds from these ideas. As the music gathers energy, the barn door is finally opened,and the behemoth is rolled out. After a pregnant pause, the music of flight begins—soaring andenergetic.The parts are available on rental from the publisher.
$25.95 ≈
24.21€
Flying
Flying
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Piano seul
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Musique Sacrée
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Gospel Spirituel
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THEMIS KOUTRAS
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Flying
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THEMIS KOUTRAS
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SheetMusicPlus
Piano - SKU: A0.1066755 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 111. THEMIS KOUTRAS #5195391. P...
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Piano - SKU: A0.1066755 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 111. THEMIS KOUTRAS #5195391. Published by THEMIS KOUTRAS (A0.1066755). At the time I wrote this prophesy song I only knew that earth had rocket ships I had no idea of the space aircraft they have today until a long time after I wrote this prophecy song I do not know if they had them back then or not but I do know I did not know if they had them that is if they did have them back then as you see today its prophecy has come to pass as obvious as that they have had them for a while now
$3.99 ≈
3.72€
The Flying Dutchman
The Flying Dutchman
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Classique
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Richard Wagner
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Nr
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The Flying Dutchman
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Soprano, Alto, 2 Tenors, 2 Basses, Mixed Chorus and Orchestra - SKU: S9.Q17845 (Version 1842-1880). Composed by Richard Wagner. This edition: stu...
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Soprano, Alto, 2 Tenors, 2 Basses, Mixed Chorus and Orchestra - SKU: S9.Q17845 (Version 1842-1880). Composed by Richard Wagner. This edition: study score. Choral music - Ernst Eulenburg - Opera. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q17845. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q17845). German.This new publication presents Wagner’s much-loved opera in its entirety with a detailed preface by Egon Voss. The new Urtext Edition replaces the familiar edition by the conductor Felix Weingartner, published in 1897, and it was this version that which all later editions were based upon. Throughout its creation both during Wagner’s lifetime and thereafter, The Flying Dutchman has gone through many revisions, making this new edition essential to any opera lover and a welcome addition to the repertoire.1 kl. Flöte, 2 Flöten, 2 Oboen, Englischhorn, 2 Klarinetten, 2 Fagotte, 4 Hörner, 2 Trompeten, 3 Posaunen, Basstuba, Pauken, Streicher. Auf dem Theater: Nr. 1: 6 Hörner, Tamtam, Windschleuder; Nr. 7: 3 kl. Flöten, Tamtam, Windschleuder; Nr. 8: Tamtam.
$57.99 ≈
54.10€
Now the Dove Flies
Now the Dove Flies
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Christian contemporain
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Musique Sacrée
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Connie Pwll Walck Tyler
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Now the Dove Flies
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Connie Tyler
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SheetMusicPlus
Small Ensemble Flute,Piano,Voice - Level 3 - SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie...
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Small Ensemble Flute,Piano,Voice - Level 3 - SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie Tyler #4607671. Published by Connie Tyler (A0.1008082). This piece, for soprano and alto duet with piano and flute, speaks of the persistence of the dove, the peace maker, faced with war, famine, poverty, etc. It was written when the United States went to war with Afghanistan and Representative Barbara Lee stood up and was the lone voice against war. Although the piece is secular, the use of the symbol of the dove would work well in religious services.The piece involves a two against three rhythm which suggests the difficulties the dove faces flying for peace against the overwhelming odds of war. The .mp3 file is computer generated with choral oohs for the voices. The words are:Now the dove flies, sails the war-torn skies,feels the wind rip through her wings.Tossed and turned now, cries of war howl,tear-ing through her, and she still sings. Sings to march-ers on crowd-ed streetssing-ing songs of love and songs of peace.Tips her wings to those who dare stand tall,speak re-sound-ing no's in hal-lowed halls. They say that that sin means to miss the mark.I have so man-y times aimed in the dark.We fail in lit-tle ways, be-tray our friends.It was-n't planned that way.Dis-trac-tion leads to e-vil ends. The sha-dow fear clouds our at-ten-tion.Mind falls a-stray in-to dis-sen-sion. Ig-no rance can twist the dartand then it falls far from the mark. Na-tions, too, a-stray our free-doms bend‘til some have bombed away all chance at friends. We see glo-ry mag-ni-fied.Shout our prais-es to the to the skies.Build our mon-u-ments to our wars,for-get-ting the needs of of weak and poor. And still the dove flies while the earth criespol-lu-ted with more de-bris of war.Child-ren sick now, soldiers cry foul!Dove is weep-ing and yet she hums. Hums to child-ren who diede-spite moth-ers' deep cries.Sings to young who march to war,de-spite fa-thers' out-raged roars.Wings o-ver fa-mine and drought,pol-lu-ted wa-ter, pol-lu-ted ground.Folds us un-der her down-y breast.Warms us in her gen tle nest. Yes, the dove flies. Sails the wa- torn skies.Feels the wind rip through her wings.Tossed and turned now cries of war howltear-ing through her and yet,and yet she sings. For more information or possible revisions contact Connie Pwll Walck Tyler at connie@deephum.com. You can also find out more about her work at www.deephum.com. The words are:
$8.00 ≈
7.46€
Floating, Falling, Flying (for Flute, Clarinet and Piano)
Floating, Falling, Flying (for Flute, Clarinet and Piano)
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Flûte, Clarinette, Piano (trio)
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Brian Chung
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Floating, Falling, Flying
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Brian Chung Music
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditio...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - SKU: A0.1192373 Composed by Brian Chung. Contemporary,Contest,Festival,Film/TV,Traditional. Score and parts. 17 pages. Brian Chung Music #791812. Published by Brian Chung Music (A0.1192373). This version of Floating, Falling, Flying is optimized for Flute, Clarinet and Piano. The original trio written for Oboe, Violin and Piano (#1284568 on Sheet Music Direct, #A0.1188926 on Sheet Music Plus) is now available for several instrumental combinations.YouTube Composer's Commentary:  https://youtu.be/AGq1Y14PHIUSUMMARYHave you ever wondered what happens to balloons when they fly away? Floating, Falling, Flying†depicts the odyssey of two balloons who find themselves suddenly and blissfully untethered.  It presents a musical narrative of their unpredictable journey through the skies, back to earth, and, eventually, into the stratosphere. The piece was commissioned by Music Teachers National Association for the 2022 National Conference.  It is a trio for oboe, violin and piano written for students at the intermediate to advanced-intermediate level.  Composed in three contiguous movements, it involves three characters – the balloons (portrayed by the oboe and violin) and the wind (represented by the piano).  In the opening movement (Floating), the balloons escape their moorings and ascend into free space, floating playfully among the clouds with the help of a gentle wind. But, as in life, journeys are not always peaceful.  The second movement (Falling) opens with a hint that something is not quite right.  Undaunted, the balloons continue their carefree ascent amid the ominous signs of an approaching storm.  The wind ultimately asserts its authority, pummeling the balloons back to earth.  As they lie helplessly on the ground, they assess each other’s condition and make feeble attempts to relaunch.  But, without wind, their situation seems hopeless.  In the final movement (Flying), hope is restored as a quiet breeze lifts the intrepid pair back into the air.  They resume their skyward adventure with renewed vigor and joy – dancing through the clouds and, ultimately, out of sight.Floating, Falling, Flying is an exciting and challenging piece appropriate for school concerts, recitals and Solo and Ensemble festivals.  Brian Chung is a pianist, arranger, composer, conference speaker, former Senior Vice Present of Kawai America Corporation, and author or co-author of four books published by Alfred Music.  He was honored to participate in MTNA’s Collaborative Music Commissioning Project with this composition.
$18.00 ≈
16.79€
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
Korsakov: Flight of the Bumblebee for Soprano Sax & Piano
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Saxophone Soprano et Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Soprano Saxophone - Level 5 - SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,R...
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Piano,Soprano Saxophone - Level 5 - SKU: A0.549256 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473699. Published by jmsgu3 (A0.549256). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore! Korsakov: Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95 ≈
30.74€
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The Flying Hat
