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A Passage To India
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You've selected:
A Passage To India
Sheetmusic to print
30 sheet music found
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1
26
A Passage To India (adela)
A Passage To India (adela)
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String Quintet: 2 violins, viola, cello, bass
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INTERMEDIATE/ADVANCED
#
Maurice Jarre
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U
#
A Passage To India
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U.Charlé
#
SheetMusicPlus
String Quintet Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1317906 Composed by Maurice Jarre. Arranged by U.Charlé. Film/TV,We...
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String Quintet Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1317906 Composed by Maurice Jarre. Arranged by U.Charlé. Film/TV,Wedding. 26 pages. U.Charlé #906598. Published by U.Charlé (A0.1317906).
$16.99 ≈
15.22€
A Passage To India (adela)
A Passage To India (adela)
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
#
Maurice Jarre
#
Ulrich Charle
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A Passage To India
#
U.Charlé
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1256725 Composed by Maurice Jarre. Arranged by Ulrich Charle. Film/...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1256725 Composed by Maurice Jarre. Arranged by Ulrich Charle. Film/TV,Wedding. 19 pages. U.Charlé #850095. Published by U.Charlé (A0.1256725).
$15.99 ≈
14.32€
Journey East: Western then Eastern Europe, Middle East, India, China
Journey East: Western then Eastern Europe, Middle East, India, China
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Contemporary
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Gary Friedman
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Journey East: Western then Eas
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Gary Friedman
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SheetMusicPlus
Piano Trio,String Ensemble - Level 4 - Digital Download SKU: A0.889892 Composed by Gary Friedman. Contemporary. Score and parts. 12 pages. Gary Friedman ...
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Piano Trio,String Ensemble - Level 4 - Digital Download SKU: A0.889892 Composed by Gary Friedman. Contemporary. Score and parts. 12 pages. Gary Friedman #708255. Published by Gary Friedman (A0.889892). This violin, cello, and piano trio is the first piece I've written that doesn't include at least one wind instrument. It starts with a romantic melody played by both violin and cello, followed by a more energetic rhythmic piece reminiscent of eastern European music, followed by a 5/4 passage similar to Turkish music, followed by a rhythmic section representing India, and ending with a melodic in pentatonic scale representing China. The last is the melody in my composition, Theme and Variations for Er Hu (2-string Chinese violin) and Orchestra. The whole journey takes about 6 minutes. An elderly cello-playing friend assured me that the rapidly moving pizzicatos were quite playable. The audio clip is computer playback.
$10.00 ≈
8.96€
Ghost
Ghost
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Concert band
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INTERMEDIATE
#
Maurice Jarre
#
John Ivor Holland
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Ghost
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1323285 Composed by Maurice Jarre. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop. 43 pages. J...
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Concert Band - Level 3 - Digital Download SKU: A0.1323285 Composed by Maurice Jarre. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop. 43 pages. John Ivor Holland #911509. Published by John Ivor Holland (A0.1323285). Maurice Jarre's score for 'GHOST' (1990) was nominated for the Academy Award for Best Original Score but came runner-up to John Barry's 'Dances With Wolves'. Although he composed several concert works, Jarre is best known for his film scores, particularly for his collaborations with film director David Lean; Jarre composed the scores to all of Lean's films from Lawrence of Arabia (1962) to A Passage to India (1984), winning four Golden Globes, three BAFTA Awards, a Grammy Award, and a star on the Hollywood Walk of Fame across a glittering career. Relive the ethereal beauty of 'GHOST' with this wonderful main theme, which wouldn't be out of place in a concert about love or the magic of the movies.
$49.99 ≈
44.77€
Violin duet (Over the changes to Donna Lee - Indiana)
Violin duet (Over the changes to Donna Lee - Indiana)
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2 Violins (duet)
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INTERMEDIATE/ADVANCED
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Darren Lloyd
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Violin duet
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Darren Lloyd
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SheetMusicPlus
Violin Duet Violin - Level 4 - Digital Download SKU: A0.855895 Composed by Darren Lloyd. Concert,Instructional,Jazz. 4 pages. Darren Lloyd #3885569. Publ...
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Violin Duet Violin - Level 4 - Digital Download SKU: A0.855895 Composed by Darren Lloyd. Concert,Instructional,Jazz. 4 pages. Darren Lloyd #3885569. Published by Darren Lloyd (A0.855895). A great fun to play Violin duet written over the changes to Donna Lee or Indiana!The duet dovetails the solo line and sometimes goes into tutti type passages also to give both players something challenging to play.Depending on the speed you choose, this duet will challenge anyone from intermediate through to advanced!
$1.99 ≈
1.78€
Clarinet duet - (Donna Lee - Indiana changes)
Clarinet duet - (Donna Lee - Indiana changes)
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2 Clarinets (duet)
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INTERMEDIATE
#
Darren Lloyd
#
Clarinet duet -
#
Darren Lloyd
#
SheetMusicPlus
Clarinet Duet Clarinet - Level 3 - Digital Download SKU: A0.855893 Composed by Darren Lloyd. Concert,Instructional,Jazz. 2 scores. 4 pages. Darren Lloyd ...
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Clarinet Duet Clarinet - Level 3 - Digital Download SKU: A0.855893 Composed by Darren Lloyd. Concert,Instructional,Jazz. 2 scores. 4 pages. Darren Lloyd #3885567. Published by Darren Lloyd (A0.855893). A great fun to play Clarinet duet written over the changes to Donna Lee or Indiana!The duet dovetails the solo line and sometimes goes into tutti type passages also to give both players something challenging to play.Depending on the speed you choose, this duet will challenge anyone from intermediate through to advanced!
$1.99 ≈
1.78€
Flute duet (Over the changes to Donna Lee)
Flute duet (Over the changes to Donna Lee)
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2 Flutes (duet)
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INTERMEDIATE/ADVANCED
#
Darren Lloyd
#
Flute duet
#
Darren Lloyd
#
SheetMusicPlus
Flute Duet Flute - Level 4 - Digital Download SKU: A0.855894 Composed by Darren Lloyd. Concert,Instructional,Jazz. Score. 4 pages. Darren Lloyd #3885589....
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Flute Duet Flute - Level 4 - Digital Download SKU: A0.855894 Composed by Darren Lloyd. Concert,Instructional,Jazz. Score. 4 pages. Darren Lloyd #3885589. Published by Darren Lloyd (A0.855894). A great fun to play Flute duet written over the changes to Donna Lee or Indiana!The duet dovetails the solo line and sometimes goes into tutti type passages also to give both players something challenging to play.Depending on the speed you choose, this duet will challenge anyone from intermediate through to advanced!
$1.99 ≈
1.78€
Requiem
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
50.14€
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
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Soprano Saxophone and Piano
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INTERMEDIATE/ADVANCED
#
Ali Ben Sou Alle
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Paul Wehage
#
Ali Ben Sou Alle : Divertissem
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul We...
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Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Folk,Holiday,Romantic Period. Score and parts. 17 pages. Musik Fabrik Music Publishing #1986205. Published by Musik Fabrik Music Publishing (A0.533210). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (c was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time). He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Divertissement sur Une Ballade Irlandaise begins with a lyric introduction in bel canto style. The Irish Ballade is named in the score as « My Lodging is on the Cold Ground », but is sometimes known as « Believe Me If All Those Endearing Young Charms » and is followed by a brilliant variation. After an ornamented modal passage in 6/8, the allemande theme is presented first in a moderate tempo, and then in a more rapid variant which uses « cross string » figerations similar to those used by fiddlers.
$11.95 ≈
10.70€
Somewhere, My Love - Lara's Theme from Doctor Zhivago
Somewhere, My Love - Lara's Theme from Doctor Zhivago
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String Orchestra
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INTERMEDIATE
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Film/TV
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Maurice Jarre
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Douglas R
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Somewhere, My Love - Lara's Th
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Douglas R. Morrison
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SheetMusicPlus
String Orchestra - Intermediate - Digital Download By Maurice Jarre. Arranged by Douglas R. Morrison. Score, Set of Parts. 16 pages. Published by Dou...
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String Orchestra - Intermediate - Digital Download By Maurice Jarre. Arranged by Douglas R. Morrison. Score, Set of Parts. 16 pages. Published by Douglas R. Morrison
A Rivendell String Orchestra Arrangement.
The haunting “Lara’s Theme” was composed for David Lean’s epic romantic drama Doctor Zhivago (1965), and netted film composer Maurice Jarre his second Academy Award for Best Original Score (he had won previously for Lawrence of Arabia in 1962, and would win again in 1984 for A Passage to India).
This beautiful instrumental melody took on a life of its own when Paul Webster added lyrics to make it “Somewhere, My Love” in 1966. Ray Coniff and the Ray Coniff Singers had a US Top 10 hit with it the same year, and it has remained a popular ballad ever since. A great addition to your next pops program!
Also available for string quartet: H0.721151-SC001289282
$15.99 ≈
14.32€
Somewhere, My Love (Lara's Theme from Dr. Zhivago)
Somewhere, My Love (Lara's Theme from Dr. Zhivago)
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Contemporary
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Maurice Jarre
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Douglas R
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Somewhere, My Love
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Douglas R. Morrison
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SheetMusicPlus
String Quartet - Intermediate - Digital Download By Maurice Jarre. Arranged by Douglas R. Morrison. 14 pages. Published by Douglas R. Morrison...
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String Quartet - Intermediate - Digital Download By Maurice Jarre. Arranged by Douglas R. Morrison. 14 pages. Published by Douglas R. Morrison
A Rivendell String Quartet Arrangement. The haunting “Lara’s Theme” was composed for David Lean’s epic romantic drama Doctor Zhivago (1965), and netted film composer Maurice Jarre his second Academy Award for Best Original Score (he had won previously for Lawrence of Arabia in 1962, and would win again in 1984 for A Passage to India).
This beautiful instrumental melody took on a life of its own when Paul Webster added lyrics to make it “Somewhere, My Love” in 1966. Ray Coniff and the Ray Coniff Singers had a US Top 10 hit with the same year, and it has remained a popular ballad ever since. This well-known piece is wonderful for preludes and receptions.
Also available for string orchestra: H0.710615-SC001289282
$12.99 ≈
11.63€
A Passage To India (Adela)
A Passage To India (Adela)
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Piano solo
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Film/TV
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Maurice Jarre
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A Passage To India
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Maurice Jarre. Film/TV. Piano. 4 pages. Published by Hal Leonard - Digital Sheet Music (HX.366081). - Piano - Film/TV - Hal Leonard - Digital Sheet Music...
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By Maurice Jarre. Film/TV. Piano. 4 pages. Published by Hal Leonard - Digital Sheet Music (HX.366081). - Piano - Film/TV - Hal Leonard - Digital Sheet Music
$4.99 ≈
4.47€
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
En proie à la tristesse from Le comte Ory - Comtesse Adèle-only Solo Audition/Recital Cut
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Soprano voice, Piano
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ADVANCED
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Gioachino Rossini
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Nicole Elyse DiPaolo
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En proie à la tristesse from
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Rom...
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Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799619 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619). The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.02€
Ali Ben Sou Alle: Souvenirs de la Chine for soprano saxophone and piano
Ali Ben Sou Alle: Souvenirs de la Chine for soprano saxophone and piano
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Soprano Saxophone and Piano
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INTERMEDIATE
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs de
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.533495 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 18 p...
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Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.533495 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 18 pages. Musik Fabrik Music Publishing #3000191. Published by Musik Fabrik Music Publishing (A0.533495). “Loc-tee-kun-tzin: air chinoise et Rondo. Souvenirs de la Chine starts with a setting of the Chinese folksong « Loc-tee-kun-tzin », one of eight used by Pucinni in his opera Turandot but set in a completely different harmonic context here. The Rondo which follows is in the form of a valse with several scherzando passages and an brillant code. The folksong is briefly reprised before the concise endingOne of the most enigmatic figures in the history of Wind Music, Ali Ben Sou Alle (Charles-Valentin Soualle) s born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collectionknown as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.
$11.95 ≈
10.70€
Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
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Soprano Saxophone and Piano
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INTERMEDIATE/ADVANCED
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs d'
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533493 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 p...
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Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533493 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 pages. Musik Fabrik Music Publishing #3000187. Published by Musik Fabrik Music Publishing (A0.533493). Souvenirs d’Île Maurice begins with a lyrical pastorale in 12/8 time which features chromatic harmonies in the piano. The Rondo section presents first a Waltz theme in minor mode and then reprises the pastorale theme which is then varied in several brilliant passages.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.
$11.95 ≈
10.70€
Trail of Tears, Op. 209
Trail of Tears, Op. 209
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Piano solo
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ADVANCED
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Contemporary
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Samuel Wellman
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Trail of Tears, Op. 209
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Samuel Wellman
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.882009 Composed by Samuel Wellman. Contemporary. Score. 15 pages. Samuel Wellman #2033477. Published by S...
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Piano Solo - Level 5 - Digital Download SKU: A0.882009 Composed by Samuel Wellman. Contemporary. Score. 15 pages. Samuel Wellman #2033477. Published by Samuel Wellman (A0.882009). Inspired by the historic event commonly known as The Trail of Tears, the US government's forcible removal of eastern Indian tribes to Oklahoma Territory and other points west in the 1800s. Many thousands of Indians perished during the grueling trip. My piece doesn't attempt to mimic Indian music as such, but alternates between a slow, haunting tune and violent, wrenching passages. This atonal music is not for the squeamish.
$12.00 ≈
10.75€
Adamastor - Seres Imaginários 6 (for Narrator & Large Brass Ensemble)
Adamastor - Seres Imaginários 6 (for Narrator & Large Brass Ensemble)
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Contemporary
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Luis Cardoso
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Adamastor - Seres Imaginários
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Luis Cardoso
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SheetMusicPlus
Small Ensemble Bass Trombone,Horn,Tenor Trombone,Trumpet,Tuba,Voice - Level 5 - Digital Download SKU: A0.934367 Composed by Luis Cardoso. Contemporary. S...
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Small Ensemble Bass Trombone,Horn,Tenor Trombone,Trumpet,Tuba,Voice - Level 5 - Digital Download SKU: A0.934367 Composed by Luis Cardoso. Contemporary. Score and parts. 94 pages. Luis Cardoso #6167321. Published by Luis Cardoso (A0.934367). Adamastor was composed in response to another challenge from my friend Sérgio Carolino, to be premiered by Massive Brass Attack, a large brass ensemble, with a narrator. It is my 6th composition on the theme of Imaginary Beings, which continually fascinates me. This time, it is based on the monster of the cape of the storms, in the extreme south of the African continent, whose passage frightened for centuries the Portuguese sailors who wanted to go to the Indian Ocean. I used the texts by Luiz de Camões (LusÃadas) and Fernando Pessoa (Message), under whose narration I create a musical environment in search of the fantastic, the struggle and redemption. January 30, 2014.
$120.00 ≈
107.47€
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Baritone voice, Piano
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ADVANCED
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Cent...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations. About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.02€
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompani
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Soprano voice, Piano
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ADVANCED
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Classical
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic...
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Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799615 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 9 pages. Nicole Elyse DiPaolo #5022033. Published by Nicole Elyse DiPaolo (A0.799615). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from So war es mit Pagliazzo and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at Noch glaub' ich is also available. To see previews of that section within the aria and a preview of the complete aria, please visit their respective SheetMusicPlus pages.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.02€
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
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Alto voice, Piano
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ADVANCED
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Classical
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Richard Strauss
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Nicole Elyse DiPaolo
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Wie Du warst
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Nicole Elyse DiPaolo
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Pe...
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Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.02€
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A Passage To India
