Butterflies - Score

Giacomo Puccini's Un Bel Dì Vedremo 'One Fine Day We'll See'' from Madame Butterfly. Scored for Soprano Voice and Piano in the key of F Major.

The Butterflies-Brisk and expressive melodic phrases along with the piano's fluttering accompaniment reflect images of the butterfly. Soaring and singable this will be a wonderful selection for developing choirs and established singers. Lynne Gackle Choral Series.

A very special collection of twelve spine-tingling themes by Oscar-winning composer Dario Marianelli from the silver screen retelling of Jane Austen's classic romantic drama Pride And Prejudice allarranged for sumptuous solo Piano. Recapture those magical moments of love dreams and secrecy rich in Georgian elegance with this collection of Pride And Prejudice sheet music. The first of his fourcollaborations with director Joe Wright Dario Marianelli was nominated for an Oscar for his work on this beautiful soundtrack whose melody adds to the romantic overtones while also staying true to the period. Theacclaimed pianist Jean-Yves Thibaudet played Piano on the film's soundtrack enhancing the emotion and effectiveness of the drama unfolding on the screen. When Wright and Marianelli first met theirconversations turned to Beethoven whose early sonatas formed the basis of the Pride And Prejudice score. Other pieces were inspired by the period during which the film is set such as MerytonTownhall. The Romantic period of classical music that the score emulates matches perfectly the romantic tone of the film. The novel is one of the greatest love stories ever told the film is a faithful adaptation andthe score should be required playing for any pianists looking for some instrumental love songs with which to serenade their sweetheart.  Playing this beautiful collection of sheet music from thesoundtrack to Pride And Prejudice is perfect as a way to spend an evening the most romantic background music for a candlelit dinner or just to enjoy the cinematic melodies when these compositions are playedon solo Piano. 

A Choral Suite in eight movements for SATB (multi divisi). The texts are taken from different sources including Chuang Tse an Acoman Indian and a poem written by a young Czech victim of Auschwitz.Scored for 4 Sopranos 3Altos 3 Tenors and 3 Basses (SSSSAAATTTBBB) a cappella.

Meadow is an installation for any performers – singers instrumentalists of any type – and requires large numbers (minimum 20). It should be performed without musical score although the text to be spoken may be printed on a piece of card that can be held in the hand by performers. In addition each performer will require a coloured tissue paper ‘butterfly’ as detailed in the score. The performers populate a sonic wildflower meadow constantly varied in detail but unchanging in overall texture. They collectively produce a highly variegated quiet ‘hum’ – a dense but delicate weave of sound that may riseonly a little above the ambient sound of the performance space revealing its intricacies only to those listening close-up. Meadow was designed to work as a pop-up performance within a large multipurpose public space though a relatively quiet environment is necessary. Performers work independently from each other. The whole group should be quite densely clustered close together but one or more paths through the performer ‘meadow’ should be left. The audience should be able to walk among around and through the performance as much as possible.

Par PUCCINI GIACOMO. Madama Butterfly took wing under turbulent circumstances. The premiere (Milan, Teatro alla Scala, 17 February 1904) was a disaster, while a second production only months later (Brescia, Teatro Grande, 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score, enough that the result qualifies as a “second version”. Still other changes were to come, however, as the opera toured in successive productions. The definitive version, which is reflected in this edition, was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera – and into shaping the fate of theheroine, herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope, herpathetic pretence in the name of love, her miserable demise. / Opéra-opérette / Date parution : 1905-06-21/ Répertoire / Orchestre, Solistes SATB, SATB divisi

Madama Butterfly took wing under turbulent circumstances. The premiere (Milan Teatro alla Scala 17 February 1904) was a disaster while a second production only months later (Brescia Teatro Grande 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score enough that the result qualifies as a ?second version?. Still other changes were to come however as the opera toured in successive productions. The definitive version which is reflected in this edition was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera ? and into shaping the fate of theheroine herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope herpathetic pretence in the name of love her miserable demise.

(Field Butterfly)-The Field Butterfly is a humorous song about the alikeness of a field butterfly to a 1900 Filipino lady dressed in her glamorous formal dress with tall butterfly sleeves. She struts swaying her hips down the aisle of the church as everyone looks on. The Filipino choral arrangements that George Hernandez has written are some of the most popular in the Pavane catalog. Also available in SATB divisi P1364. For high school and college treble choirs. Medium difficulty.

In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

Giacomo Puccini (1858-1924) est après Verdi l?un des plus grands représentants de l?opéra italien. Il reste célèbre pour les teintes sublimes de ses mélodies chaleureuses ses orchestrations colorées ses drames envoûtants sa créativité musicale et son incroyable capacité à délivrer des ambiances exotiques à travers des textures sonores.Parmi les classiques des opéras pucciniens on peut citer Manon Lescaut La Bohème Tosca Madame Butterfly et Turandot. Il est également frappant de constater que de nombreux airs de Puccini même sortis de leur contexte d?origine sont parfaitement adaptés à une interprétation en concert.Pour réaliser cet arrangement Wil van derBeek a puisé dans le tissu musical de l?air pour ténor E lucevan le stelle (Tosca) dans le chœur d?opéra Gira la cote! Gira! (Turandot) et dans l?air pour soprano Un bel di vedremo (Madame Butterfly).

In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern