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When They Call My Name
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Vous avez sélectionné:
When They Call My Name
Partitions à imprimer
47 partitions trouvées
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The Glastry Pearl. Tone Poem Elegy For My Mum.
The Glastry Pearl. Tone Poem Elegy For My Mum.
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Orchestre
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AVANCÉ
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Geraldine
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The Glastry Pearl. Tone Poem E
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldin...
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Full Orchestra - Level 5 - SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00 ≈
$271.32
Four Favorite Hymns from the Movie - "Stars In My Crown"
Four Favorite Hymns from the Movie - "Stars In My Crown"
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Musique Sacrée
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John R
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Ginny Saltzman
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Four Favorite Hymns from the M
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Ginny's House of Music
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robi...
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Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robinson, John Wyeth. Arranged by Ginny Saltzman. 19th Century,Christian,Praise & Worship,Religious. 12 pages. Ginny's House of Music #780380. Published by Ginny's House of Music (A0.1180477). These are the 4 hymns in the colorized movie Stars in My Crown.(1) Will There Be Any Stars in My Crown? - An old favorite simplified hymn arrangement on Late Elementary-Early Intermediate Level, in the Key of G, with lyrics and Guitar chords included. From the scriptures Daniel 12:3 And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever. 1 Peter 5:4 And when the chief Shepherd shall appear, ye shall receive a crown of glory that fadeth not away. 1 Thessalonians 2:19-20 For what is our hope, or joy, or crown of rejoicing? Are not even ye in the presence of our Lord Jesus Christ at his coming? For ye are our glory and joy.(2) Shall We Gather At The River? - An old favorite hymn with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and Guitar chords. Very special arrangement with duet notation using the Violin and Flute. From the scriptures Revelation 22: 1 And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. 2 In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.(3) Beulah Land - An old favorite hymn with simplified Late Elementary - Early Intermediate Level Piano Accompaniment, Lyrics, in the Key of G. From the scriptures Deuteronomy 8: 7 For the Lord thy God bringeth thee into a good land, a land of brooks of water, of fountains and depths that spring out of valleys and hills; 8 A land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil olive, and honey; 9 A land wherein thou shalt eat bread without scarceness, thou shalt not lack any thing in it; a land whose stones are iron, and out of whose hills thou mayest dig brass. 10 ¶ When thou hast eaten and art full, then thou shalt bless the Lord thy God for the good land which he hath given thee. Isaiah 33:17 Thine eyes shall see the king in his beauty: they shall behold the land that is very far off.(4) Come Thou Fount of Every Blessing - An old favorite hymn in the Key of C, with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and additional melody with the Bb Clarinet. From the scriptures 1 Corinthians 15:10 But by the grace of God I am what I am: and his grace which was bestowed upon me was not in vain; but I laboured more abundantly than they all: yet not I, but the grace of God which was with me.1 Samuel 7 :12 Then Samuel took a stone, and set it between Mizpeh and Shen, and called the name of it Eben-ezer, saying, Hitherto hath the Lord helped us.
$7.99 ≈
$10.84
When They Call My Name by Mosie Lister - Piano/Vocal/Chords
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Piano, Voix
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Mosie Lister
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When They Call My Name
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Musicnotes
Performed by: Mosie Lister: When They Call My Name Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music...
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Performed by: Mosie Lister: When They Call My Name Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords;Hymn, instruments: Piano;4-Part Choir;Voice; 2 pages -- Christian~~CCM~~Gospel
$5.50 ≈
$7.46
Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
Sanbutsuge: A Buddhist Motet for Chorus SATB and Piano, with Solo Soprano
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Richard St
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Sanbutsuge: A Buddhist Motet f
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. P...
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Choral Choir (SATB) - Level 4 - SKU: A0.939717 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 23 pages. Richard St. Clair #3002339. Published by Richard St. Clair (A0.939717). This 9-minute motet in which the Buddha-to-be Dharmakara praises His master, Lokeshvaraja Buddha and vows to become the Savior of all Beings (namely, Amida Buddha). The music beings with an extended recitative/aria by solo soprano, and proceeds to the full choral ensemble to its conclusion. The MP3 Audio Clip is a computer-generated soundfile of the entire work. The music is completely tonal and traditional, suitable for good amateur choirs and professional choruses alike.Words from the Larger Sutra on Amida Buddha expounded by Shakyamuni Buddha some 2500 years ago in India.[Setting: Many ages ago, Dharmakara Bhikshu (in his stage before becoming Amida Buddha) declares to his Master, Buddha Lokeshvararaja, his intention to create a Pure Land wherein all suffering beings can be saved.]Text (slightly abridged):Then appeared a Buddha named Lokeshvararaja, the Tathagata, Arhat, Perfectly Enlightened One, Possessed of Wisdom and Practice, Perfected One, Knower of the World, Unsurpassed One, Tamer of Men, Master of Gods and Men, Buddha and World-Honored One.At that time there was a king, who, having heard the Buddha's exposition of the Dharma, rejoiced in his heart and awakened aspiration for the highest, perfect Enlightenment. He renounced his kingdom and the throne, and became a monk named Dharmakara. Having superior intelligence, courage and wisdom, he distinguished himself in the world. He went to see the Tathagata Lokeshvararaja, knelt down at his feet, walked round him three times keeping him always on his right, prostrated himself on the ground, and putting his palms together in worship, praised the Buddha with these verses:The shining face of the Buddha is glorious;Boundless is his magnificence.Radiant splendor such as hisIs beyond all comparison.The sun, the moon and the mani-jewel,Though shining with dazzling brightness,Are completely dimmed and obscuredAs if they were a pile of ink-sticksThe countenance of the TathagataIs beyond compare in the whole world.The great voice of the Enlightened OneResounds throughout the ten regions.His morality, learning, endeavor,Absorption in meditation, wisdomAnd magnificent virtues have no equal;They are wonderful and unsurpassed.I resolve to become a Buddha,Equal in attainment to you, O holy king of the Dharma,To save living beings from birth-and-death,And to lead them all to emancipation.I vow that, when I have become a Buddha,I shall carry out this promise everywhere;And to all fear-ridden beingsShall I give great peace.Even though there are Buddhas,A thousand million kotis in number,And multiudes of great sagesCountless as the sands of the Ganges,I shall make offeringsTo all those Buddhas.I shall seek the supreme WayResolutely and tirelessly.Even though the Buddha-lands are as innumerableAs the sands of the Ganges,And other regions and worldsAre also without number,My light shall shine everywhere,Pervading all those lands.Such being the result of my efforts,My glorious power shall be immeasurable.When I have become a Buddha,My land shall be most exquisite,And its people wonderful and unexcelled;The seat of Enlightenment shall be supreme.My land, being like Nirvana itself,Shall be beyond comparison.I take pity on living beingsAnd resolve to save them all.Those who come from the ten quartersShall find joy and serenity of heart;When they reach my land,They shall dwell in peace and happiness.I beg you, the Buddha, to become my witnessAnd to vouch for the truth of my aspiration.Having now made my vows to you,I will strive to fulfilll them.The World-Honored Ones in the ten quartersHave unimpeded wisdom;I call upon those Honored OnesTo bear witness to my intention.Even though I mu.
$10.99 ≈
$14.91
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.
$3.99 ≈
$5.41
Belief
Belief
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Trompette
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DÉBUTANT
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Alex Lewis, Eddie Lewis
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Belief
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Tiger Music
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SheetMusicPlus
Piano,Trumpet - Level 1 - SKU: A0.750361 Composed by Alex Lewis, Eddie Lewis. Contemporary,Instructional,Standards. Score and part. 6 pages. Tiger Music...
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Piano,Trumpet - Level 1 - SKU: A0.750361 Composed by Alex Lewis, Eddie Lewis. Contemporary,Instructional,Standards. Score and part. 6 pages. Tiger Music #6339105. Published by Tiger Music (A0.750361). Although this composition is called Belief, it doesn't sound particularly religious (to my ears). There is a musical program you might have heard about called Finale. On Finale, you can type in notes for instruments and play it back in real time to hear your new creation. When I played it, I got the idea for the name Belief because it sounded so much like a musical theme from a kids' movie. Anyone who starts playing the trumpet naturally believes that they will eventually learn how to play the trumpet. People usually think they will be successful at any project whenever they start. Now real life is more complicated than that, of course. But I think Belief is a fitting piece for somebody in the Trumpet Pioneer stage. It's a more simple time. Since it's a simple time, the message should be simple as well.This is a wonderful first performance piece for trumpet players to learn. They can learn it after only a few lessons and already sound good when they perform with a pianist. This would be good to use for a concert at a church or school. Buy this composition, practice it, and play it in front of friends and family and your school or church.
$6.78 ≈
$9.20
Bridges, Op. 136 (for Brass Quintet and Chimes)
Bridges, Op. 136 (for Brass Quintet and Chimes)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Bridges, Op. 136
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https://gildedmusicpress.com/
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SheetMusicPlus
Brass Quintet - Level 4 - SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Http...
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Brass Quintet - Level 4 - SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Https://gildedmusicpress.com/ #1066350. Published by https://gildedmusicpress.com/ (A0.1489487). One of my last assignments as an Air Force musician before being stationed in Japan was to perform music in support of the 50th commemoration of what has become known in America as “Vietnam Memorial Day.” It is observed on March 29 every year, the date when the last U.S. troops withdrew from Vietnam in 1973. After the memorable ceremony in 2023, I lingered to talk with those mature veterans and to hear some of their experiences. It was a strange feeling when I told them that my first assignment at my new duty station in Japan would be a series of cultural exchange performances in Vietnam. What a somber generational bridge.I was only in Japan for a matter of days, including some intense rehearsals, before Pacific Brass (the brass quintet from the U.S. Air Force Band of the Pacific) packed up and headed to Hanoi to start our brief musical outreach in three cities. My reflections were sobering as I contrasted my military service in Vietnam with the veterans whom I had just honored three months prior. During some off-duty time, all five of the Pacific Brass military musicians found our way to the well-known Hòa Ló Prison, infamously known as the “Hanoi Hilton.” Indeed, how vastly different was my brief military service in Vietnam!To the Vietnamese people, the “American War,” as they call it, is ancient history. They are extremely forward-thinking, putting those dark years far from them, looking to the bright future that is theirs. What an educational bridge of paradigms. Although it was important for us as U.S. Servicemembers to witness the Hòa Ló Prison firsthand, our lot was to experience the beautiful present-day Vietnam with its rich culture of food, street shops, temples, dance, music, and other wonders that awed us all—including gongs!Our trombone player purchased a gong in a shop that sold little else besides gongs of all sizes and pitches. That struck me as quintessentially Vietnamese, and the sights and sounds of that modest shop lingered in my imagination. As we absorbed the extraordinary majesty of the Temple of Literature in Hanoi, ideas for this musical composition started to formulate as a bridge connecting American musical culture with Vietnamese traditional gongs. For practicality in both notation and live performance, I scored the consort of 18 glorious “gongs” in my head for orchestral tubular bells. It is a passionate hope that someday in a video presentation, a masterful cultural bridge of the two diverse countries will be crafted. Better yet, what an experience it would be to have a legitimate gong consort perform live with Pacific Brass!The year of our visit, as we were coached many times by the Embassy’s Attaché, was a milestone landmark between the two nations, worthy of praise and celebration: the ten-year anniversary of the U.S.-Vietnam Comprehensive Partnership, signed by Presidents Obama and Sang in July 2013. This bilateral relationship has bridged both nations’ commitment to economic engagement, cultural exchange, tourism, education, and human rights. This composition is in celebration of this Comprehensive Partnership and a gift to the wonderful people of Vietnam. May this music contribute to a continuing growth of positive relations bridging the two nations.
$24.95 ≈
$33.85
Entrainment (2009)
Entrainment (2009)
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Contemporain
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Guy Bunce
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Entrainment
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Enigma Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Eni...
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Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Enigma Music #4984881. Published by Enigma Music (A0.816703). Entrainment (2009)Written for New Noise​Oboe & PercussionEntrainment is the process by which two oscillating systems, which have different periods when they function independently, assume the same period when interacting. The principle of entrainment is universal, appearing in chemistry, pharmacology, biology, medicine, psychology, sociology, astronomy, architecture to name but a few.This piece explores the entrainment of tempo with two initially diverse tempo structures synchronising after a period of four minutes. At the start of the score the oboe begins at 137 bpm and the percussionist at 63 bpm. Over the course of the four minutes the percussionist speeds up whilst the oboist slows down resulting in the tempi synchronising at four minutes. After four minutes the two instruments begin a discourse in unison (rhythmically, melodically, and dynamically): the musical equivalent of total synchronisation. In the final section of the piece the parts diverge with the percussionist slowing down and the oboe part maintaining its speed.As with many of my pieces, the starting point for Entrainment was an external source, in this case the song Time by Pink Floyd. The rhythmic lines throughout Entrainment are based on the rhythm to the bass line of the first part of Time. This can be clearly seen in the opening in which the oboe part employs this rhythm.Harmonically Entrainment consists of a series of key centres whose period is determined by points within the four minutes where either of the two independent parts briefly synchronise at the semiquaver level with the unit of a second. At each of these points (which become more frequent as the piece progresses), the harmonic centre changes. The harmonic centres relate directly to the chord structure of Pink Floyd's Time: at each point where either part synchronises with seconds the harmonic centre in both parts moves one chord through Time's chord sequence. At 2' 19'' the percussion and oboe part synchronise (albeit briefly) for the first time. This event was used to mark the start of more polytonal harmony as both instruments from this point forward begin their own cycles through the Time chords. Throughout the piece, points of synchronisation are highlighted musically.Performance mp3 recordings that contain a dual click track for the first four minutes of the piece can be obtained by contacting guybunce@hotmail.com. The click track is arranged so that the oboe click is on the left channel and the percussion click is on the right. An alternative click track (track 3) is also provided using a different sound (a beep). The performers should wear the headphone in one ear which corresponds to the track of their part. The dual click track can then be played on a single CD player (or mp3 player) with the output going to both sets of headphones using a headphone splitter or other device. Alternatively, files can be put on either two iPods or Mp3 players. The players will then have to synchronize the beginnings of each track.It is possible to play the piece without the use of the click track(s). If this is the case, performers should use the metronome markings and general layout of the score to aid performance. It is advisable that one player (possibly the oboist) sets the tempo and tempo changes, and the other player follows.It was not always possible to represent accurately the relationship between the two parts in the score. Arrows have been added on the score to show points of synchronisation where the score layout differs.
$7.99 ≈
$10.84
I Will Plead Your Cause, sacred music for alto and tenor duet
I Will Plead Your Cause, sacred music for alto and tenor duet
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Musique Sacrée
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Kevin G
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I Will Plead Your Cause, sacre
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Kevin G. Pace
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SheetMusicPlus
Voice Duet Alto Voice,Tenor Voice - Level 4 - SKU: A0.1305303 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religi...
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Voice Duet Alto Voice,Tenor Voice - Level 4 - SKU: A0.1305303 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 7 pages. Kevin G. Pace #894741. Published by Kevin G. Pace (A0.1305303). A stunningly beautiful vocal duet for alto and tenor.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.  Text inspired by the the verse in Doctrine and Covenants 29:5 I am your advocate with the Father.Text:I Will Plead Your Cause “. . . (I) am your advocate with the Father; . . .†- Doctrine and Covenants 29:5Alto: I have sinned and cannot be restoredTo Father’s sight, to Father’s heavn’ly door.I am stopped, but there is One whose lifeWas giv’n for me so I would not know strife.Tenor: I am Christ, and I will plead your cause.For this I bled so you would not be lost.I am Christ, who died on CalvaryTo show my love to you explicitly.Tenor: Those who will confess my Name to all,To those will I confess when Father calls.But if they deny my Name to men,They, too, will I deny to Father then.Alto: I have sinned, but I have faith in Thee;To be my advocate, will Thou now be?As I plead for mercy and thy grace,Will Thou help me discover Father’s face?Both sing at the same time:Alto: I have sinned; O will Thou plead my causeBefore my Father’s face, or I’ll be lost?Thou art Christ, who died on CalvaryTo show thy love to me explicitly.Thou art Christ, who died to save my soul.Thou art Christ. Thou died to make me whole.Tenor: I am Christ, and I will plead your causeBefore my Father’s face so you’re not lost.I am Christ, who died on CalvaryTo show my love to you explicitly.I am Christ, who died to save your soul.I am Christ. I died to make you whole.
$3.99 ≈
$5.41
A Joyful Sound
A Joyful Sound
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Chorale 3 parties
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INTERMÉDIAIRE
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Kimberly Joy Minarich
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Kimberly Joy Minarich
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A Joyful Sound
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Kimberly Joy Minarich
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SheetMusicPlus
Choral Choir,Choral,SAB Chorus - Level 3 - SKU: A0.1448445 By Kimberly Joy Minarich. By Kimberly Joy Minarich. Arranged by Kimberly Joy Minarich. Christ...
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Choral Choir,Choral,SAB Chorus - Level 3 - SKU: A0.1448445 By Kimberly Joy Minarich. By Kimberly Joy Minarich. Arranged by Kimberly Joy Minarich. Christian,Contest,Festival,Sacred,Spiritual. 8 pages. Kimberly Joy Minarich #1028355. Published by Kimberly Joy Minarich (A0.1448445). Psalm 100 ~ my absolute favorite verses in the Bible and what I claim as my life verses! As a young girl, I remember memorizing them and how they forever imprinted on my heart to live a life through service, surrender, JOY, and love for my eternal Father, my King. Life is a gift that we get to live. Each breath is a gift that I dedicate to my heavenly Father as I walk closely with Him on this journey of life. He is with me, He inspires me through His Word, He directs my steps through the whispers of the Holy Spirit, and He pours from my soul through the joy and love that He has given me. Praise God for His gift of salvation and that every step I take is one step closer to an eternity with Him! Please enjoy this song that I was inspired to create because of its impact on my heart and throughout my life ~ I hope it is an encouragement to you and brings joy to those that learn, share, or listen!A Joyful Sound Ministries ~ the name of our family music ministry that began in the early 1980’s and remains alive in my heart to this very day. God called my parents when they were very young to live a life of service to our King, dedicating every moment of their lives, their children, their careers, and their hearts to living His Word and beaming the light of Christ wherever they were called to walk, with whomever God placed on their path. From nursing homes, churches, Cook County Prison, homeless missions…God used our family in a mighty way to show Himself through the music, verses, testimony, and simple conversations He would inspire us to share. Through endless prayer, hours of musical rehearsing, and a lot of fun along the way, God gave us the privilege of sharing His love through ministry. I am forever thankful, inspired, and transformed because of what HE did through us! It was always about HIM and I will forever live my life of service to the King, inspired by this incredible springboard of a magical childhood that God gave me through the surrendered heart of my parents.
$7.99 ≈
$10.84
CONJUNCTION: The Christmas Star of 2020
CONJUNCTION: The Christmas Star of 2020
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Orchestre
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INTERMÉDIAIRE
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Noël
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Sta
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #649...
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Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00 ≈
$128.88
Weep And Smile [piano solo]
Weep And Smile [piano solo]
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Piano seul
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FACILE
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the way, these words are somet
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Juan MarÃa Solare
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Weep And Smile [piano solo]
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Juan Maria Solare
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.596592 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Sacred,Standards. Score. 8 pages. Juan Maria Solare #5...
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Easy Piano - Level 2 - SKU: A0.596592 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Sacred,Standards. Score. 8 pages. Juan Maria Solare #5799759. Published by Juan Maria Solare (A0.596592). About the music Both pieces of this diptych are miniatures with a structure quite similar to each of the pieces of the Album für die Jugend Opus 68 by Robert Schumann. The melodies are strongly rooted in Japanese music (particularly obvious in the second piece). Aesthetically, this is neoclassical music (a quite broad concept nowadays). Fans of Erik Satie, Ludovico Einaudi or Joep Beving will possibly feel at home. Both pieces were composed on 6 June 2020 (the first one with my daughter Laura sleeping on my breast). Find this music soon on Spotify, Apple Music, YouTube or any other streaming platform (either under my name or performed by other pianists, possibly Iannis Eralos). Total duration: ca. 5:15.https://open.spotify.com/album/27MbJnfPjcolbQZAmNs8tKWeep Because Its Over: https://www.youtube.com/watch?v=SWflYuEoLy8Smile Because It Happened: https://www.youtube.com/watch?v=7SQFUlb7lFgAbout the titlesIn a poem by the German Romantic poet Ludwig Jacobowski titled Leuchtende Tage (Radiant Days) and published in August 1899, he writes:Nicht weinen, weil sie vorüber!Lächeln, weil sie gewesen!Literally:Don't cry because they are over (they: the radiant days)Smile because they happened.Usually it is quoted this way:Don't cry because it’s overSmile because it happened. For my piece, I adapted this idea und -not quite humbly- think that is better now: Do weep because it’s overBut also smile because it happened Why is it better now? Because… where is the issue with weeping? The first step is to accept that pain exists. Nobody has the moral authority to deny you the possibility of crying. Weeping is not a shame or a disgrace. Besides, only he who weeps is credible when he laughs. By the way, these words are sometimes attributed to Confucius. I leave to you the task of determining whether Jacobowski borrowed this thought from him.
$3.33 ≈
$4.52
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.13
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.13
It was a lover and his lass (a modern madrigal) for SATB choir
It was a lover and his lass (a modern madrigal) for SATB choir
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Chorale SATB
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David Warin Solomons
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It was a lover and his lass
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David Warin Solomons
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49...
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Choral Choir (SATB) - SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49135. Published by David Warin Solomons (A0.576648). A jolly parody of Shakespeare's song by the same name but using my Bell Dance as the melody to represent mobile phones (or cell phones as they say in the USA). A version for men's voices is also available on this site. The sound sample here was performed by the Composer's Choir under Dan Shaw. ring ding dong ding dong ring ding dong ding dong It was a lover and his lass in the spring time that through the city streets did pass in this ring time calling each other every minute or two and texting in case they couldn't get through oh hearken to the lovers in the spring time! Between the supermarket aisles while they're shopping these pretty city folk would chat without stopping vainly the birds are welcoming spring with their song they'll wear themselves out e'er very long while lads and lasses never tire of ringing! Then one day when Romeo must text his Julietta just to say I luv ya yeah I luv ya so much but then she rings back to tell him that it's all over she's met a nicer lad from Folkestone or Dover (It's all over it's all over lad from Dover) so he just rings to all of his pals and calls her a slag! and all the people on the tram hear the show while our pretty city folk live all on their mobile then suddenly the battery's flat as a skate and Romeo can not ring his mate he's sorry that he called her slag in spring time he can't ring her he can't ring his Julietta sorry now in spring.
$3.99 ≈
$5.41
Cantummit Waltz
Cantummit Waltz
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Orchestre d'harmonie
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FACILE
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John R
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Cantummit Waltz
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John R. Daniels
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.496549 Composed by John R. Daniels. Folk,Traditional. Score and parts. 43 pages. John R. Daniels #110708. Published by ...
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Concert Band - Level 2 - SKU: A0.496549 Composed by John R. Daniels. Folk,Traditional. Score and parts. 43 pages. John R. Daniels #110708. Published by John R. Daniels (A0.496549). A delightful little waltz that sounds a bit off kilter because it has seven-measure phrases. To balance that, there are also two countermelodies presented, with the final A section featuring the main melody and both countermelodies in a grand calliope sound. The Cantummit Waltz is called that because I found it hard to hum a few bars when asked to do so by some people who were helping me name it. So they suggested that I call it the I Can't Hum It Waltz. Can't Hum It became Cantummit. IF YOU WOULD LIKE YOUR ENSEMBLE TO GAIN MORE MEDIA EXPOSURE, please record your performance of this piece and email it to CustomMusic@Salt-Cellar-Creations.com. It will be included in my social media postings and website samples with any contact info you may want to provide. If you need help with recording technique or email transfer, etc. please contact me. For more information about the composer / arranger and other services, go to www.Salt-Cellar-Creations.com.
$25.00 ≈
$33.92
Kinder- Symphonie (Toy Symphony): Composer: Unknown - symphonic wind/percussion
Kinder- Symphonie (Toy Symphony): Composer: Unknown - symphonic wind/percussion
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Edmund Angerer - ascribed vari
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Ray Thompson
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Kinder- Symphonie
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 3 - SKU: A0.555864 Composed by Edmund Angerer - ascribed variously to Jos...
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 3 - SKU: A0.555864 Composed by Edmund Angerer - ascribed variously to Joseph Haydn, Leopold Mozart, Michael Haydn, and Wolfgang Amadeus Mozart and Johann Rainprechter. Arranged by Ray Thompson. Children,Christmas,Classical,Standards. Score and parts. 52 pages. RayThompsonMusic #6047585. Published by RayThompsonMusic (A0.555864). This work was long reputed to be the work of Joseph Haydn, but later scholarship suggested that it was actually written by Leopold Mozart. Its authorship is still disputed, however, and other composers have been proposed as the symphony's true author, including Joseph Haydn's younger brother Michael Haydn, who purportedly contributed movements to the work.Recent research on a newly found manuscript suggests the Austrian Benedictine monk Edmund Angerer (1740–1794) to be the author. If Angerer's manuscript (from 1765, entitled Berchtolds-Gaden Musick) is the original, the Toy Symphony was originally written not in G but rather in C. These findings, however, are disputed among scholars. There is reason to believe that the true composer will likely never be known, in whole or in part, given its confused origins and the paucity of related manuscript sources.Even without a name attached to it, the piece has become a mainstay for children's shows and Christmastime concerts. Each of its three movements features the sounds of actual toys and instruments that sound like they came straight from Geppetto's workshop. The piece calls for a toy trumpet, ratchet, nightingale, cuckoo, drum, and triangle. ( A quail makes it’s only appearance in the 2nd movement.Noisemakers rattle throughout the first of its three movements. The cuckoo and trumpet  call out mischievously during the minuetto of the second movement , and a quail joins the nightingale in the trio. In the short third mvt which is played 3 times, they all play again, each repeat faster than the previous one.The presence of the toy instruments make this a fun piece for children to play, especially when there are also some toys waiting under the tree.My arrangement is based on the Kinder-Symphonie attributed to Leopold Mozart. It is scored in C.it is in 3 mvts and is arranged for double wind quintet, bass and toy percussion.i have distributed the original strings around the woodwind, and composed original classical horn parts.Sometimes known as Children’s Symphony.
$19.95 ≈
$27.06
Kinder- Symphonie (Toy Symphony): attrib. J Haydn & L Mozart) - wind quintet and percussion
Kinder- Symphonie (Toy Symphony): attrib. J Haydn & L Mozart) - wind quintet and percussion
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Joseph Haydn/Leopold Mozart
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Ray Thompson
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Kinder- Symphonie
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RayThompsonMusic
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.553894 Composed by Joseph Haydn/Leopold Mozart. Arranged by Ray ...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.553894 Composed by Joseph Haydn/Leopold Mozart. Arranged by Ray Thompson. Children,Christmas,Classical,Standards. 35 pages. RayThompsonMusic #6050327. Published by RayThompsonMusic (A0.553894). This work was long reputed to be the work of Joseph Haydn, but later scholarship suggested that it was actually written by Leopold Mozart. Its authorship is still disputed, however, and other composers have been proposed as the symphony's true author, including Joseph Haydn's younger brother Michael Haydn, who purportedly contributed movements to the work.Recent research on a newly found manuscript suggests the Austrian Benedictine monk Edmund Angerer (1740–1794) to be the author. If Angerer's manuscript (from 1765, entitled Berchtolds-Gaden Musick) is the original, the Toy Symphony was originally written not in G but rather in C. These findings, however, are disputed among scholars. There is reason to believe that the true composer will likely never be known, in whole or in part, given its confused origins and the paucity of related manuscript sources.Even without a name attached to it, the piece has become a mainstay for children's shows and Christmastime concerts. Each of its three movements features the sounds of actual toys and instruments that sound like they came straight from Geppetto's workshop. The piece calls for a toy trumpet, ratchet, nightingale, cuckoo, drum, and triangle. ( A quail makes it’s only appearance in the 2nd movement.Noisemakers rattle throughout the first of its three movements. The cuckoo and trumpet  call out mischievously during the minuetto of the second movement , and a quail joins the nightingale in the trio. In the short third mvt which is played 3 times, they all play again, each repeat faster than the previous one.The presence of the toy instruments make this a fun piece for children to play, especially when there are also some toys waiting under the tree.My arrangement is based on the Kinder-Symphonie attributed to Leopold Mozart. It is scored in C.It is in 3 mvts and is arranged for wind quintet, and toy percussion.It can be peformed as a stand alone  wind quintet without percussion as all of the important cues (the trumpet and cuckoo) are written in to the instrumnt parts.i have distributed the original strings around the woodwind, and composed an original classical horn part.Sometimes known as The Children’s SymphonyAlso available as a wind dectet/bass arrangement.
$14.95 ≈
$20.28
Hymns from Childhood - Set 9 (SATB)
Hymns from Childhood - Set 9 (SATB)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Set 9
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Curtis Hanson
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.719736 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 12 pages. Curtis Hanson #4573109. Publish...
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Choral Choir (SATB) - Level 3 - SKU: A0.719736 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 12 pages. Curtis Hanson #4573109. Published by Curtis Hanson (A0.719736). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have elected to use the older texts as that is the way they were first written and the way I first learned them. There is a reverence and beauty in the language enriching the vocal/choral tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include Spirit of God, Descend upon My Heart, Just As I Am, without One Plea, and Savior, Again to Thy Dear Name.
$2.25 ≈
$3.05
Hymns from Childhood - Set 9 (solo)
Hymns from Childhood - Set 9 (solo)
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Voix seule
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DÉBUTANT
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Set 9
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Curtis Hanson
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SheetMusicPlus
Vocal Solo,Voice - Level 1 - SKU: A0.719769 Composed by Various. Arranged by Curtis Hanson. Sacred. 9 pages. Curtis Hanson #6069395. Published by Curtis...
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Vocal Solo,Voice - Level 1 - SKU: A0.719769 Composed by Various. Arranged by Curtis Hanson. Sacred. 9 pages. Curtis Hanson #6069395. Published by Curtis Hanson (A0.719769). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have elected to use the older texts as that is the way they were first written and the way I first learned them. There is a reverence and beauty in the language enriching the vocal tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include Spirit of God, Descend upon My Heart, Just As I Am, and Savior, Again to Thy Dear Name. This collection of arrangements is also available for SATB voices and piano or piano solo.
$5.99 ≈
$8.13
Elegy-Field of Blood
Elegy-Field of Blood
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Jordan Eismeier
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Elegy-Field of Blood
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 4 - SKU: IZ.CBS172-S Composed by Jordan Eismeier. Score. 15 pages. Imagine Music - Digital #CBS172-S. Published by Imagine Music - ...
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Concert band - Grade 4 - SKU: IZ.CBS172-S Composed by Jordan Eismeier. Score. 15 pages. Imagine Music - Digital #CBS172-S. Published by Imagine Music - Digital (IZ.CBS172-S). 9 x 12 in inches.This piece was originally composed for full orchestra as the sixth and final movement of my own second symphony Double Cross which musically chronicles the life and death of a man whose name has become synonymous with betrayal: Judas Iscariot. In the book of Matthew, chapter 27:1-10, Judas returns the blood money and hangs himself; the chief priests used the money and bought the Potter's field which became known as the Field of Blood, a burial place for strangers. This elegy for Judas is the haunting memoir of a traitor.Elegy is a piece just shy of seven minutes whose challenge is not in technical facility but rather in musical nuance. It gives many instruments opportunities to shine individually and in chamber-like settings, and it also challenges players to listen to the musical interactions in the fuller sections. Several specialty instruments are marked ad. lib., such as Eb clarinet, English horn, contrabassoon, double bass, and while they are optional, they sometimes do have prominent parts (especially English horn), but all optional instruments are either doubled or marked for cues when featured [NOTE: For ease of score reading, cues are not written out in the score; they are only cited on the appropriate lines]. So their presence is useful, but their absence is not prohibitive. Also, the score calls for some challenging ranges in the first horn, first bassoon and first/second trombones. These passages are marked with optional 8vb's, and the first bassoon and trombone have the opportunity to play a short passage in tenor clef. The timpani part includes suggested drum tunings, and it gives ample time and direction for the few pitch changes are required. The vibraphone part (Perc. 1) does employ four-mallet technique in places, but if this is not feasible (this would be a good piece in which to start learning it), the score specifies that Perc. 1 may be played on a piano instead. Percussion 3 calls for crotales, but in their absence, the glockenspiel may be used, and Perc. 3 already has that. The optional double bass part makes use of notes requiring a C extension, but it also gives optional small notes an octave higher in case the bassist has no C extension (which is likely). So in all, this piece offers plenty of challenges, but it also comes with optional escapes to help make it more accessible to more bands.Elegy-Field of Blood will challenge the musicality of good high school and college bands while still being a respectable member of professional repertoire. Its major performance challenges can be circumvented without terribly compromising the musicality, but they are available for maximum musical impact.
$12.00 ≈
$16.28
Elegy-Field of Blood
Elegy-Field of Blood
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Jordan Eismeier
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Elegy-Field of Blood
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 4 - SKU: IZ.CBS172 Composed by Jordan Eismeier. Score and Parts. 77 pages. Imagine Music - Digital #CBS172. Published by Imagine Mu...
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Concert band - Grade 4 - SKU: IZ.CBS172 Composed by Jordan Eismeier. Score and Parts. 77 pages. Imagine Music - Digital #CBS172. Published by Imagine Music - Digital (IZ.CBS172). 9 x 12 in inches.This piece was originally composed for full orchestra as the sixth and final movement of my own second symphony Double Cross which musically chronicles the life and death of a man whose name has become synonymous with betrayal: Judas Iscariot. In the book of Matthew, chapter 27:1-10, Judas returns the blood money and hangs himself; the chief priests used the money and bought the Potter's field which became known as the Field of Blood, a burial place for strangers. This elegy for Judas is the haunting memoir of a traitor.Elegy is a piece just shy of seven minutes whose challenge is not in technical facility but rather in musical nuance. It gives many instruments opportunities to shine individually and in chamber-like settings, and it also challenges players to listen to the musical interactions in the fuller sections. Several specialty instruments are marked ad. lib., such as Eb clarinet, English horn, contrabassoon, double bass, and while they are optional, they sometimes do have prominent parts (especially English horn), but all optional instruments are either doubled or marked for cues when featured [NOTE: For ease of score reading, cues are not written out in the score; they are only cited on the appropriate lines]. So their presence is useful, but their absence is not prohibitive. Also, the score calls for some challenging ranges in the first horn, first bassoon and first/second trombones. These passages are marked with optional 8vb's, and the first bassoon and trombone have the opportunity to play a short passage in tenor clef. The timpani part includes suggested drum tunings, and it gives ample time and direction for the few pitch changes are required. The vibraphone part (Perc. 1) does employ four-mallet technique in places, but if this is not feasible (this would be a good piece in which to start learning it), the score specifies that Perc. 1 may be played on a piano instead. Percussion 3 calls for crotales, but in their absence, the glockenspiel may be used, and Perc. 3 already has that. The optional double bass part makes use of notes requiring a C extension, but it also gives optional small notes an octave higher in case the bassist has no C extension (which is likely). So in all, this piece offers plenty of challenges, but it also comes with optional escapes to help make it more accessible to more bands.Elegy-Field of Blood will challenge the musicality of good high school and college bands while still being a respectable member of professional repertoire. Its major performance challenges can be circumvented without terribly compromising the musicality, but they are available for maximum musical impact.
$80.00 ≈
$108.53
Let It Be
Let It Be
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Noël
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The Beatles
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Jeremy Nafziger
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The...
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99 ≈
$5.41
Diasporic Dances
Diasporic Dances
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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AVANCÉ
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Patrick Prejean
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Diasporic Dances
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Patrick Prejean
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SheetMusicPlus
String Quintet Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1317853 Composed by Patrick Prejean. 21st Century,Chamber,Classical. 215 pages. Patric...
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String Quintet Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1317853 Composed by Patrick Prejean. 21st Century,Chamber,Classical. 215 pages. Patrick Prejean #906523. Published by Patrick Prejean (A0.1317853). These dances where written at the request of the executive director of CityMusic Cleveland. They are based and inspired by North and Sub-Saharan African Dances in addition to a reimagining of fairy tales. There are 8 movements making this the biggest project I've ever composed. This quintet may also be performed as a String Orchestra ensemble. I - There is a story about a man named Alexander Dynis (Deniz) who is believed to have ended up in Ruthenia (modern day Ukraine) as a PoW when the Ottomans invaded the Polish-Lithuanian Commonwealth. Not much is known about his early life but we do know is that eventually afterwards he was granted the position of Starosta (town mayor/landlord) of Kozieglowy (Poland) by the Bishop of Krakow. He is the only Black starosta that we know of to this day. His story is interesting and is the basis of this movement and was inspired by the soundtrack of a game called Hellish Quart. II - This movement is a dance of ritual which emphasizes the different pitch intonations of the human voices hence the dissonant harmonies. Imagine walking through the savannah and hearing these voices but you are unsure of their intentions. This dance is heavy and percussive. III - This movement is of a young woman who is kidnapped by the Vikings and dreams of escaping captivity. IV - There are 3 distinct motives for this movement which combine to create a battle - like scene, those being the 6 quarter note triplets, the rhythmic motive, and the driving 16th notes.  V - I wanted to create the sounding of the natural horns of the Ancient and Classical Eras and to combine them with a retelling of the Little Red Riding Hood. Her journey begins upon hearing these horns and prompted to ride out to begin her quest.VI/VII/VIII - These movements where edited from my Death Waltzes for the Living. There are hidden titles for number 6 and 7: Loss of Mind and Hospital. These waltzes are a reimagining of Cinderella's life but instead of her story playing out as we know it, she suffers a psychotic break and is transported into our world and rushed to the hospital. The final movement concludes the piece with a Dance of Death. I have had many close encounters with permanent oblivion and the result of this is what I call Hitchcock Horror harmonic language. These encounters supplimented with the dreams of the unconscious realm create an uneasy dance that ends almost as abruptly as they begin.
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ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
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When They Call My Name
