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Cherry Point: Piano Accompaniment
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You've selected:
Cherry Point: Piano Accompaniment
Sheetmusic to print
6 sheet music found
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1
Cherry Point: Piano Accompaniment
Cherry Point: Piano Accompaniment
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Piano (band part)
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Instructional
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Neal Hefti
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Roy Phillippe
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Cherry Point: Piano Accompanim
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - Digital Download SKU: AX.00-PC-0000923_K Piano Accompaniment. Composed by Neal Hefti. Arranged by Roy Phillippe. Instructional. Pa...
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0000923_K Piano Accompaniment. Composed by Neal Hefti. Arranged by Roy Phillippe. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0000923_K. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000923_K). UPC: 038081269993.A greasy swingin' blues with a very catchy riff! This great tune was composed by Neal Hefti and arranged by Roy Phillippe. Solos are written out for piano, trumpet and tenor sax. The lead trumpet plays to written F. This chart is easy to rehearse, and very effective!
$3.00 ≈
2.76€
TRITONE Sonata for Trumpet in B-flat and Piano
TRITONE Sonata for Trumpet in B-flat and Piano
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Trumpet, Piano
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ADVANCED
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Contemporary
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John Frith
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TRITONE Sonata for Trumpet in
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Cherry Classics Music
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SheetMusicPlus
Piano Accompaniment, Trumpet - Advanced - Digital Download Composed by John Frith. 21st Century, Contemporary Classical. Score, Solo Part. 36 pages. Pu...
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Piano Accompaniment, Trumpet - Advanced - Digital Download Composed by John Frith. 21st Century, Contemporary Classical. Score, Solo Part. 36 pages. Published by Cherry Classics Music
Here is a description of the TRITONE Sonata for Trumpet and Piano by the composer, John Frith:
"One of my most enjoyable roles in music was conducting the Herefordshire Young People’s Orchestras (UK) in the late 1980s. Stuart Essenhigh was a very talented young trumpeter who toured Belgium with the orchestra as a soloist in 1989.
Encouraged by this experience Stuart went on to study in London graduating as a fine professional trumpeter working firstly in Hong Kong and then as a freelancer with major U.K. orchestras.
My TRITONE Sonata for Trumpet and Piano of 2016 was written specifically for Stuart. Each of its three movements uses the interval of a tritone in different ways. We hear it initially as a ‘benign’ element of the first movement; ‘ironic’ in the second and even ‘playful’ in the last.
I - Moderato
The use of a ‘straight’ mute to open and close this movement greatly enlarged my palate of sound colours and, together with some unconventional ‘flutter- tonguing’ techniques, it allowed me to emphasize the declamatory and strident possibilities of this powerful instrument…... I call for ‘ffff’ (fortissississimo) at one point! The muted coda creates an otherworldly’ atmosphere - distant and questioning at the close.
II – Andante espressivo – piu mosso – Tempo primo
The opening austere and angular melody (which demands great lip flexibility and control) leads to a relaxed and flowing ‘piu mosso’ with quasi baroque idioms. This builds towards florid, technical passages for the soloist which are matched by more assertive piano lines heralding the return of the opening material and a soulful resolution.
III – Maestoso – rondo
A traditional martial ‘fanfare’ opens the final movement by answering phrases from both instruments. There is something of a power struggle in progress here which is momentarily resolved at the ‘rondo’ where the piano accepts a supportive ‘um-pa-pa’ accompanimental role. The trumpet melody is dominant and confident but the piano gradually asserts itself propelling the music with a powerful ‘boogie-woogie’ style bass line. This encourages both instruments to climb ever higher in, what I trust will be, a thrilling race for the final bar." John Frith 2020
This work is about 12 minutes in length and is appropriate for advanced to virtuoso performers.
$30.00 ≈
27.61€
London Town Fantasy for Trombone and Piano
London Town Fantasy for Trombone and Piano
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Trombone and Piano
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ADVANCED
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Contemporary
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Antonio J
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London Town Fantasy for Trombo
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Cherry Classics Music
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SheetMusicPlus
Piano Accompaniment, Trombone - Advanced - Digital Download Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Par...
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Piano Accompaniment, Trombone - Advanced - Digital Download Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. Published by Cherry Classics Music
Virginia Commonwealth University Professor Antonio J. García has taken Haydn’s “London” Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would “showcase the trombone in a jazz ballad style and somehow reference the Haydn ‘London’ Symphony” that would follow it on the program, knowing that the first half of the concert would also include the Brahms “Variations on a Theme of Joseph Haydn.” She and trombone soloist Nathan Dishman suggested the title “London Town Fantasy,” envisioning a potential intersection with elements of George Gershwin’s “A Foggy Day (In London Town),” which seemed apt given a scheduled trip of García’s to London during the compositional process.
Listeners familiar with Haydn's “London” Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony’s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the “bridge” section of the tune is crafted from the first seven measures of the opening theme of Haydn’s first movement (Allegro).
The use of “A Foggy Day” had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin’s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of “A Foggy Day.” (An optional written-out solo is provided.)
Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).
The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or “minus one,” make rehearsals easy and even provide the aural basis for your own potential “virtual” performance.
$27.50 ≈
25.31€
Concerto for Trombone and Piano accompaniment (piano reduction)
Concerto for Trombone and Piano accompaniment (piano reduction)
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Trombone and Piano
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ADVANCED
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Cherry Classics Music
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John, W
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Concerto for Trombone and Pian
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Gordon Cherry
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SheetMusicPlus
Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. ...
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Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00 ≈
32.21€
En Bateau from Petite Suite for Euphonium and Piano accompaniment
En Bateau from Petite Suite for Euphonium and Piano accompaniment
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Euphonium, Piano (duet)
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy
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Sauer, Ralph
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En Bateau from Petite Suite fo
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Gordon Cherry
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SheetMusicPlus
Euphonium,Piano - Level 4 - Digital Download SKU: A0.810821 Composed by Claude Debussy. Arranged by Sauer, Ralph. 20th Century,Romantic Period. Score and...
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Euphonium,Piano - Level 4 - Digital Download SKU: A0.810821 Composed by Claude Debussy. Arranged by Sauer, Ralph. 20th Century,Romantic Period. Score and part. 10 pages. Gordon Cherry #3397443. Published by Gordon Cherry (A0.810821). En Bateau (Sailing) is the first movement from Debussy's four movement Petite Suite written around 1886 for four-hand piano duet. Debussy was inspired to write this movement from the poem Fêtes galantes by Paul Verlaine. The Suite has been transcribed for every imaginable instrumentation and is one of the composer's most playable works from a technical standpoint. This lovely 3-minute arrangement for Euphonium and Piano accompaniment by Ralph Sauer is appropriate for moderately advanced performers. Solo part is in bass clef only.
$15.00 ≈
13.81€
Dying and Dancing for Euphonium and Piano
Dying and Dancing for Euphonium and Piano
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Euphonium, Piano (duet)
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ADVANCED
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Russell Scarbrough
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Dying and Dancing for Euphoniu
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Gordon Cherry
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SheetMusicPlus
Euphonium,Piano - Level 5 - Digital Download SKU: A0.792567 Composed by Russell Scarbrough. 20th Century,Contemporary. Score and part. 25 pages. Gordon C...
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Euphonium,Piano - Level 5 - Digital Download SKU: A0.792567 Composed by Russell Scarbrough. 20th Century,Contemporary. Score and part. 25 pages. Gordon Cherry #5008597. Published by Gordon Cherry (A0.792567). As the title suggests the work dying and dancing for Euphonium solo and Piano accompaniment is in two parts, which are played without a pause between the two. The first part, an adagio, is not necessarily meant to be evocative of the actual act of passing away, but more perhaps of the contemplation and reflection upon one’s life as that time approaches, and particularly of sorrow over regret and disappointment. The unsettled mood of the music reflects this bitterness, and stands in contrast to the expansive peace of the grave, heard at the beginning and end of the adagio. Dance, with ironic wit, the second part, is the other side of the same coin; perhaps humor of the gallows describes its spirit. At once fatalist and mocking, it brings to mind the words of the ancient teacher Koheleth, The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth. I was pleased to compose dying and dancing in 2013 for Mark Kellogg, a superb Euphonium artist and my former trombone professor at the Eastman School of Music.
$27.50 ≈
25.31€
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Cherry Point: Piano Accompaniment
