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Cadence No. 8
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You've selected:
Cadence No. 8
Sheetmusic to print
10 sheet music found
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1
Bach: Sinfonia No.8 in F major BWV 794 (music analysis)
Bach: Sinfonia No.8 in F major BWV 794 (music analysis)
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Piano solo
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Masakazu YAMAMOTO
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Bach: Sinfonia No.8 in F major
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Motch Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1401273 Composed by Johann Sebastian Bach. Arranged by Masakazu YAMAMOTO. Baroque,Classical,Contest,Festi...
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Piano Solo - Level 3 - Digital Download SKU: A0.1401273 Composed by Johann Sebastian Bach. Arranged by Masakazu YAMAMOTO. Baroque,Classical,Contest,Festival,Instructional,Religious. Score. 2 pages. Motch Music #984459. Published by Motch Music (A0.1401273). Music analysis of Sinfonia No. 8 composed by J.S. Bach.In this edition, composer Masakazu Yamamoto provides a detailed analysis of various aspects such as each phrase, harmony, and cadence, and analytical notes based on this analysis are written in various colors on the musical score. It is hoped that these annotations will be helpful for learning, whether in performance or composition.Analyses of all 15 pieces from the Sinfonia series is available for purchase. [Sheet Music Plus / Sheet Music Direct] Note:In this edition, Japanese-style harmony marks are used.Other Music Analyses(Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$4.00
Bach: Two-Part Invention No.8 in F Major BWV 779 (music analysis)
Bach: Two-Part Invention No.8 in F Major BWV 779 (music analysis)
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Piano solo
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Masakazu YAMAMOTO
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Bach: Two-Part Invention No.8
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Motch Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1247259 Composed by Johann Sebastian Bach. Arranged by Masakazu YAMAMOTO. Baroque,Classical,Contest,Festi...
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Piano Solo - Level 3 - Digital Download SKU: A0.1247259 Composed by Johann Sebastian Bach. Arranged by Masakazu YAMAMOTO. Baroque,Classical,Contest,Festival,Instructional,Religious. Score. 2 pages. Motch Music #841806. Published by Motch Music (A0.1247259). Music analysis of Two-Part Invention No. 8 composed by J.S. Bach.In this edition, composer Masakazu Yamamoto provides a detailed analysis of various aspects such as each phrase, harmony, and cadence, and analytical notes based on this analysis are written in various colors on the musical score. It is hoped that these annotations will be helpful for learning, whether in performance or composition.Analyses of all 15 pieces from the Two-Part Inventions series is available for purchase. [Sheet Music Plus / Sheet Music Direct] The complete set of all 15 pieces is available for purchase here.[Sheet Music Plus / Sheet Music Direct] Note:In this edition, Japanese-style harmony marks are used.----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$4.00
Invention No. 2 in D minor for three voices
Invention No. 2 in D minor for three voices
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Piano solo
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INTERMEDIATE
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Robert W
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Invention No. 2 in D minor for
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Padgett Music Llc
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1141383 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Scor...
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Piano Solo - Level 3 - Digital Download SKU: A0.1141383 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Padgett Music Llc #741707. Published by Padgett Music Llc (A0.1141383). This three-part Invention No. 2 in D minor was composed in the summer of 1991. I shared it with my modal and tonal counterpoint instructor, Professor Richard Wilson, and he responded favorably to my venturesome modulations and use of the Neapolitan chord. Similar to my first invention in A minor, the motive is announced by the upper voice before it is restated an octave lower by the lower voice in bar 2 to form a stretto. In bar 3, the middle voice states the motive in the dominant key of A minor with the lower and upper voices playing the first and second countermotives respectively. An episode ensues and arrives at a half cadence in bar 8. The opening fragment of the motive is exploited in conjunction with a pedal tone and a variant of the second countermotive to navigate through a series of contrasting keys. At bar 14, the motive is reasserted in F-sharp minor layered over itself in stretto with a C-sharp pedal tone in bar 15. The voices from the episode in bars 5-8 are reshuffled in bars 18-21 as another exercise in invertible counterpoint. In measure 16, the motive and two countermotives are reprised in C-sharp minor, a half step below the tonic key. Starting in bar 18, the episode from bars 6-8 is reprised in F-sharp minor with the first and second countermotives exchanging positions. This is followed in bars 16-27 by a varied restatement of the episodic sequence from bars 8-17 that cadences in bar 27 before a restatement of the subject in bar 28 in G minor with slightly embellished countermotives. Bars 32-35 present a restatement of the episode from bars 5-8 with the motive relocated to the lower voice and the two countermotives in intimate proximity in the two upper voices. An unexpected descending scale in a series of compound harmonic 10ths forms an inversion of the second half of the motive and sets the stage for a perfect cadence to a Picardy Third in D major. After so many years, I remain especially pleased with the effect of that ending.
$3.99
Invention No. 3 in C minor for two voices
Invention No. 3 in C minor for two voices
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Piano solo
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INTERMEDIATE
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Robert W
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Invention No. 3 in C minor for
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Padgett Music Llc
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1141386 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional. Score. 2 pages. ...
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Piano Solo - Level 3 - Digital Download SKU: A0.1141386 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional. Score. 2 pages. Padgett Music Llc #741710. Published by Padgett Music Llc (A0.1141386). I composed my Invention No. 3 in C minor for two voices during the Spring of 2012. The motive is intriguing as the first twelve notes are immediately followed by their inversion after a drop of a seventh to form a contrapuntal palindrome. This inversion is followed by an octave leap upwards to D that circles back to the starting note C. In bar 3, the lower voice introduces the motive a fourth lower at the dominant as the upper voice states the countermotive which concludes in bar 4 with an augmented tonal version of the descending scale run from the original motive. The ensuing episode in bars 5-8 is constructed from fragments of the motive in the upper voice accompanied by an embellished form of the countermotive in the lower voice. A series of ascending broken thirds accompanied by a rising scale run cadences in the tonic key of C minor in bar 10 before abruptly redirecting to G minor in bar 11. At this juncture, the motive and countermotive are restated in their inversions. The episodic sequence from bars 5-9 is also stated in an inverted form in bars 13-17. In bar 18, the motive is stated by the upper voice in G minor with the countermotive now in the lower voice. This formula is repeated a whole step lower in F minor in bars 20-21 followed by the modulation sequence from bars 5-8 reprised with the voices exchanging places. In bar 27, a cadence in F minor redirects back to C major in bar 28 followed by a modulation sequence culminating in C minor in bar 30 that cadences to a final Picardy Third in bar 32.
$3.99
Mozart: Requiem in D minor K626 III.Sequenz No.6 Lacrimosa - brass quintet
Mozart: Requiem in D minor K626 III.Sequenz No.6 Lacrimosa - brass quintet
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Classical
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D minor K62
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RayThompsonMusic
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1109895 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religiou...
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1109895 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 8 pages. RayThompsonMusic #712266. Published by RayThompsonMusic (A0.1109895). Arranged standard brass quintet. A beautiful piece of music. It suits the brass quintet. The Lacrimosa (Latin for weeping/tearful), also a name that derives from Our Lady of Sorrows, a title given to The Virgin Mary, is part of the Dies Irae sequence in the Roman Catholic Requiem Mass. Its text comes from the Latin 18th and 19th stanzas of the sequence. Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine, Dona eis requiem. Amen. Full of tears will be that day When from the ashes shall arise The guilty man to be judged; Therefore spare him, O God, Merciful Lord Jesus, Grant them eternal rest. Amen. The piece begins piano on a rocking rhythm in 12/8, intercut with quarter rests, which will be reprised after two bars, on Lacrimosa dies illa (This tearful day). Then follows a diatonic progression, in disjointed eighth-notes on the text resurget (will be reborn), then legato and chromatic on a powerful crescendo. The music is forte by bar 8, at which point Mozart's contribution to the movement is interrupted by his death. Süssmayr brings the music to a reference of the Introit and ends on an Amen cadence. Discovery of a fragmentary Amen fugue in Mozart's hand has led to speculation that it may have been intended for the Requiem. Indeed, many modern completions (such as Levin's) complete Mozart's fragment. Some sections of this movement are quoted in the Requiem mass of Franz von Suppé, who was a great admirer of Mozart. Ray Robinson, the music scholar and president (from 1969 to 1987) of the Westminster Choir College, suggests that Süssmayr used materials from Credo of one of Mozart's earlier masses, Mass in C major, K. 220 Sparrow in completing this movement.
$4.95
Waltz Op 69 No 2 (Arranged for Guitar)
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitar notes and tablatures
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INTERMEDIATE
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Classical
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,C...
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Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
Cadence No. 8 by Mauro Giuliani - Guitar Solo
Instrumental Solo Guitar 1;Guitar
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Classical
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Mauro Giuliani
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Cadence No. 8
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Musicnotes
Mauro Giuliani - Cadence No. 8 - from Etudes Instructives Faciles Et Agreables (Easy and Agreeable Instructive Etudes for the Guitar) Op. 100 No. 8 Digital Shee...
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Mauro Giuliani - Cadence No. 8 - from Etudes Instructives Faciles Et Agreables (Easy and Agreeable Instructive Etudes for the Guitar) Op. 100 No. 8 Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Solo, instruments: Guitar 1;Guitar; 1 pages -- Classical Period~~Classical~~Methods/Studies~~Guitar Virtuoso
$4.99
The Spirit of the Lord - for Cantor and Congregation
The Spirit of the Lord - for Cantor and Congregation
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Organ
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INTERMEDIATE
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Dr
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Dr
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The Spirit of the Lord - for C
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School Sisters of St. Francis
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SheetMusicPlus
Organ - Level 3 - Digital Download SKU: A0.1406728 By Dr. Sheri L. Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th C...
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Organ - Level 3 - Digital Download SKU: A0.1406728 By Dr. Sheri L. Masiakowski. By Sr. Theophane Hytrek OSF. Arranged by Dr. Sheri L. Masiakowski. 20th Century,Religious,Sacred. Score. 7 pages. School Sisters of St. Francis #989483. Published by School Sisters of St. Francis (A0.1406728). “The Spirit of the Lord† Sr. Theophane Hytrek OSFDedicated to Robert Verwoert on the occasion of his ordination to the priesthood — May 1971Sr. Theophane Hytrek OSF earned her PhD in composition from the University of Rochester (Eastman School of Music) in 1955.  She is known for a variety of compositional genres, e.g. keyboard (organ and piano), voice, and orchestra. Compositions for voice include masses, responses, psalm settings, hymns for congregation, choral music and solos.TEXT:The Spirit of the Lord is upon us. Send your Spirit upon us in this time and place, the Spirit who gives us comfort, the Spirit who brings light to our eyes, the Spirit who helps us say yes to your summoning Word.Bless us, Father, as you have done before, with the gift of your Spirit that he may stir new life within us.Blest are you in ev'rything that your Spirit makes new, now and for all ages to come.The source of this text is unknown. Though appropriate for Pentecost there is no direct connection to the scripture readings or sacramentary prayers for that Feast. The composition was written in the early years succeeding Vatican II (October 11, 1962 – December 8, 1965), a time of creative freedom. The language is period specific to that time, yet the music is universal.Rehearsal recommendation:The verse text is notated in consistent eighth-notes. Do not interpret this to mean that all syllables are to receive equal time.  Speak the text in natural cadence and then sing the pitches in that same natural cadence.  This will best represent Sr. Theophane’s intention.We invite you to browse other creative works by the School Sisters of St. Francis on our website:  https://www.sssf.org/SSSF/Our-Global-Impact/United-States/Music-Ministry/Catalog-of-Music.htm  Further information about our offerings is available from Dr. Sheri Masiakowski, curator of the Heritage Music Collection, at smasiakowski@sssf.org.
$4.99
Tchaikovsky - Italian Song in D Major - Intermediate
Tchaikovsky - Italian Song in D Major - Intermediate
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Piano solo
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EASY
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Classical
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Peter Ilyich Tchaikovsky
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Piacere Music Sheets
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TH 141, No
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Tchaikovsky - Italian Song in
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Piacere Music Sheets
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.847814 Composed by Peter Ilyich Tchaikovsky. Arranged by Piacere Music Sheets. Instructional,Romantic Per...
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Piano Solo - Level 2 - Digital Download SKU: A0.847814 Composed by Peter Ilyich Tchaikovsky. Arranged by Piacere Music Sheets. Instructional,Romantic Period,Standards. Score. 3 pages. Piacere Music Sheets #6601817. Published by Piacere Music Sheets (A0.847814). Opus/Catalog Number: Op.39 ; TH 141, No. 15 Key/Tone: D Major Movements/Sections: Moderato assai Year/Date of Composition: 1878 Difficulty: Grade 4/12 (Intermediate) Obs.: Included in Album for the Young, this piece was first published by Jurgenson in 1878 as No.15.The song features an A-A'-B-B' musical form:1-Section A (measures 1 to 8) :Â ending on the dominant in the right hand2-Section A' (measures 9 to 16) :Â same as A, but ending on the tonic in the right hand3-Section B (measures 17 to 32) :Â a contrasting section featuring joyful sixteenth notes in the right hand4-Section B' (measures 33 to 49) :Â same as B, but with different sixteenth notes and final cadence
$4.95
Many and Great (3, 4 or 5 oct)
Many and Great (3, 4 or 5 oct)
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Handbells
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BEGINNER
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Cathy Moklebust
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Cathy Moklebust
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Many and Great
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 1 - Digital Download SKU: C7.CGB972 Wakantanka Taku Nitawa. Composed by Cathy Moklebust. Arranged by Cathy Mo...
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3, 4, or 5 octaves handbells - Level 1 - Digital Download SKU: C7.CGB972 Wakantanka Taku Nitawa. Composed by Cathy Moklebust. Arranged by Cathy Moklebust. Thanksgiving, General. With Finger cymbals, ankle bells (or sleigh bells), tambourine, buffalo drum (or other American Indian drum). Score. 8 pages. Chorister's Guild - Digital #CGB972. Published by Chorister's Guild - Digital (C7.CGB972). UPC: 749193023075.Uplifting and sweet, this arrangement of The Lord's My Shepherd, I'll Not Want (BROTHER JAMES' AIR) makes use of stirring crescendos and orchestral-sounding sweeping musical lines. The quiet waters of the Psalm 23 text are reflected in the shimmering, peaceful first verse. The second verse gains momentum (My soul He doth restore again) and the powerful crescendo into the third verse brings a confident sense of peace (Yea, though I walk in death's dark vale / yet will I fear no ill). At the final cadence, ethereal, unusual harmonies give way to a serene resolution, symbolizing heaven as a final resting place, calling to mind the last lines of the text: and in God's house forevermore / my dwelling place shall be. The optional flute part sweetens the lovely soft sections and adds flourish and weight to the majestic third verse and coda.
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Cadence No. 8
