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Have You Ever Seen The Rain?

Have You Ever Seen The Rain? #String Trio: 2 violins, cello #INTERMEDIATE #Creedence Clearwater Revival #Sarah Cellobat Chaffee #Have You Ever Seen The Rain? #Sarah Cellobat Chaffee #SheetMusicPlus

String Trio Cello,Violin - Level 3 - SKU: A0.1125695 By Creedence Clearwater Revival. By John Fogerty. Arranged by Sarah Cellobat Chaffee. Country,Folk,...(+)

$14.99 ≈ 13.80€

Abend am See - Serenade

Abend am See - Serenade #Contemporary #Werner DÃœNNEBEIL #Nicholson's Music #Abend am See - Serenade #Benjamin Nicholson #SheetMusicPlus

Accordion,Cello,Double Bass,Guitar,Mandolin - Level 3 - SKU: A0.1312899 Composed by Werner DÃœNNEBEIL. Arranged by Nicholson's Music. 20th Century,Cla...(+)

$24.99 ≈ 23.01€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$18.95 ≈ 17.45€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Ensemble Music for Church & School

Ensemble Music for Church & School #Ensemble Music for Church & Sc #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$99.95 ≈ 92.03€

Ensemble Music for Church and School

Ensemble Music for Church and School #Ensemble Music for Church and #SheetMusicPlus

Twenty-three sacred hymns and songs From the Foreword: Recent years have seen much increase in the activities of small and med...(+)

$12.95 ≈ 11.92€

Sunrise On The Post

Sunrise On The Post #Concert band #INTERMEDIATE/ADVANCED #R S Neilson #Dave Myers #See instrumentation list #Sunrise On The Post #Rosemary Neilson #SheetMusicPlus

Concert Band - Level 4 - SKU: A0.982988 Composed by R S Neilson. Arranged by Dave Myers. Concert,Contemporary,Holiday,Patriotic. Score and parts. 79 pag...(+)

Concert Band - Level 4 - SKU: A0.982988 Composed by R S Neilson. Arranged by Dave Myers. Concert,Contemporary,Holiday,Patriotic. Score and parts. 79 pages. Rosemary Neilson #6494875. Published by Rosemary Neilson (A0.982988). Starting with the familiar sound of Reveille, this bold and rousing march for concert or marching band heralds a new day for those who serve. Perfect for patriotic events, national holidays or celebrations. Includes all parts. See instrumentation list.

$49.99 ≈ 46.03€

Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only #Various #Alastair Lodge #Chording to the Dance Masters #Wold Meridian #SheetMusicPlus

Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman ...(+)

Level 3 - SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.Â You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

$12.00 ≈ 11.05€
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only #Various #Alastair Lodge #Chording to the Dance Masters #Wold Meridian #SheetMusicPlus

Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina,...(+)

Level 3 - SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. Â You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes.Â Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on.Â Working with this publicationÂ For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.

$12.00 ≈ 11.05€
Shepherd Of Fire
Shepherd Of Fire #Rock #Avenged Sevenfold #Kyle Pudenz #Shepherd Of Fire #ViolinVagabond Music #SheetMusicPlus

Small Ensemble Bass Guitar,Drum Set,Electric Violin,Voice - Level 5 - SKU: A0.845983 By Avenged Sevenfold. By Brian Haner, Jr., Jonathan Seward, Matthew...(+)

Small Ensemble Bass Guitar,Drum Set,Electric Violin,Voice - Level 5 - SKU: A0.845983 By Avenged Sevenfold. By Brian Haner, Jr., Jonathan Seward, Matthew Sanders, and Zachary Baker. Arranged by Kyle Pudenz. Rock. Score and parts. 28 pages. ViolinVagabond Music #6022455. Published by ViolinVagabond Music (A0.845983). While Hail To The King will never be A7X's most popular or Critically Acclaimed (...see what I did there) record, it did provide us with some of the catchiest guitar hooks & drum grooves in this band's entire catalog. The opening track, Shepherd of Fire, is an absolute banger of a crossover tune that appeals to rock & metal fans alike. Consequently, like so many Avenged hits, it plays quite well as an instrumental cover and can be adapted to some interesting instrumentations beyond the original 2-guitar, bass, drums format in which it was recorded.Some years ago, I performed this tune with a 4-piece band on my college recital and it was an absolute blast! Whether out of sentimentality or just sheer boredom (I write this as we are right in the thick of the Covid-19 pandemic and gigs are... scarce, to say the least), I decided to resurrect that arrangement and clean up my shorthand charts into some real parts so that you, too, might have the joy of bringing this hard rock anthem to life with your own ensemble.The purchase of this chart includes:- Fully notated parts for drum set, bass, & rhythm guitar- Fully notated Lead part that merges the brass, lead guitar, & vocal parts into one cohesive chart- Lyrics & vocal melodies notated on lead part (if using a vocalist)- Full transcription of Synyster Gates's original guitar solo! (printed on lead part)This arrangement can be performed by as few as 4 instrumentalists. My original performance was with electric violin, guitar, bass & drums, but with the updated Lead chart the violin could easily be replaced by keyboards, a second guitar, or any instrumentalist that can read at concert pitch. The original 4-piece recording can be found at the YouTube link above, but expansion and imagination are highly encouraged!Enjoy the chart, and if you have questions, comments or suggestions, you can contact me via my website www.kylepudenz.com/ or on Instagram @theviolinvagabond

$14.99 ≈ 13.80€
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir #Giovvanni Gabrieli #James M #3 tubas #Gabrieli: Jubilate Deo Ch. 136 #jmsgu3 #SheetMusicPlus

Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...(+)

Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.15€
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir #Giovanni Gabrieli #James M #Gabrieli: Jubilate Deo Ch. 136 #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...(+)

Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com

$47.95 ≈ 44.15€

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