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575 sheet music found
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51
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551
From a Diary of a Child
From a Diary of a Child
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Piano solo
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EASY
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Panagiotis Theodossiou
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From a Diary of a Child
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Panagiotis Theodossiou
#
SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.886642 Composed by Panagiotis Theodossiou. Children,Concert,Contemporary,Standards. Score. 51 pages. Panagiotis Theodossi...
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Piano Solo - Level 2 - SKU: A0.886642 Composed by Panagiotis Theodossiou. Children,Concert,Contemporary,Standards. Score. 51 pages. Panagiotis Theodossiou #2914377. Published by Panagiotis Theodossiou (A0.886642). 30 Short Children Pieces for Piano Solo (2007)The life of a child reveals and hides inside images and sentiments, sounds and experiences, questions and concerns. Parts of a world lost forever but treasured in the adult soul.From First Day, First Page of the diary and Sunday’s Joybells to the Bittersweet morning dances and the Calm of a Sunny Afternoon, from A Sudden Absence and a Strange Question to the Loneliness and Dream, from the imaginary Indian Dance to the Walkin’ on a Rainy Day and from March of the Goose to the Flowers’ Waltz, Lullaby and Farewell Song, these Diary of a Child pages unfold the thread of a very well known memory, a memory of us all.These 30 short piano pieces were composed between 2003 and 2007. Some of them are compositions of inspired children, composer’s pupils, like Orsaki Roussetou and Plato Tsoukatos-Pontikis.This collection is dedicated to all composer’s pupils and especially toy Nikos Karidis, the grown up child who gave me the opportunity to write most of the pieces presented. The work was recorded by Dimitra Mane on cd for the upcoming edition.. The artist performed parts of the work in composer's personal Portrait organized by Greek Composers Union at Hellenic Conservatory in Maroussi in 2010 and the whole collection at Mikros Horos Tehnis (Little Hall of Arts) in Glyfada, Attiki, in 2015. Parts of the work had been performed also by Eleni Papaspyrou students, from Herakleion Music School, in Theatrical Station, Herakleion, Crete and at Lillian Voudouri Library Hall in Athens Concert Hall in 2015.39. Jeux pour Deux for two pianos (2007)A work of neoclassical character with influences from jazz idiom. It is dedicated to the piano duo Dimitra Mane – Andy Miliory and to Maurice Ravel in the musical style of whom there are intentional references - by which was performed at Athenaeum Concert Hall Athens in 2008. The work have been secondly performed by Ting Ke and Chenshayang Huang at Boston University Concert Hall under Spring 14 Piano Ensemble Juries (K. Papadakis piano class) in 2014 and by Effie Agrafioti and Giorgos Kontrafouris in D. Mitropoulos Hall, Athens Concrt Hall in 2015.https://www.youtube.com/watch?v=jI62IN0xdA0
$12.99 ≈
£10.26
Fight From The Inside
Fight From The Inside
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Bass guitar
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BEGINNER
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Rock
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Queen
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Igor Sardi Bass
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2) - https://www
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Fight From The Inside
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Igor Sardi Bass
#
SheetMusicPlus
Bass Guitar - Level 1 - SKU: A0.1269292 By Queen. By Roger Meddows Taylor. Arranged by Igor Sardi Bass. Pop,Rock. Score. 3 pages. Igor Sardi Bass #86182...
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Bass Guitar - Level 1 - SKU: A0.1269292 By Queen. By Roger Meddows Taylor. Arranged by Igor Sardi Bass. Pop,Rock. Score. 3 pages. Igor Sardi Bass #861829. Published by Igor Sardi Bass (A0.1269292). For version without tab, please contact me - igorsardi@gmail.comI transcribed about 1,000 songs, especially the bass and double bass lines. I will gradually publish them all on this site. My transcriptions are professional, done using only my skills and my ear. There is nothing copied. On my site (www.igorsardi.com) you can also find various collections (Queen, Jaco Pastorius, Flea, etc) and many teaching methods at unbelievable prices!Email:  igorsardi@gmail.comWebsite:  https://www.igorsardi.comInstagram: https://www.instagram.com/igor_sardi_bass/Facebook page:  https://www.facebook.com/igorsardibassFacebook: https://www.facebook.com/igor.sardiYoutube (Over 500 videos): https://www.youtube.com/c/IgorSardiBass36My didactic books:John Deacon: complete study - https://www.igorsardi.com/johndeacon-completestudy        Jaco Pastorius: complete study (volume 1 & 2) - https://www.igorsardi.com/jaco-pastoriusHarmony course - https://www.igorsardi.com/corso-armonia-applicata-per-bassisti  -Walking Bass: Progressive course - https://www.igorsardi.com/walking-bass-course 500 exercises for bass - https://www.igorsardi.com/500-exercises-for-bass Electric bass theory and practice - https://www.igorsardi.com/theory-and-practice-of-bass Setup: complete guide -  https://www.igorsardi.com/theelectricbassworkshop The Fretless Bass - https://www.igorsardi.com/fretless-bass-bookProfession Bass Player - https://www.igorsardi.com/profession-bassplayer Studying classical music on bass - https://www.igorsardi.com/studyingclassicalmusiconbass.
$9.99 ≈
£7.89
March to the Scaffold by Berlioz (arr. David Catherwood)
March to the Scaffold by Berlioz (arr. David Catherwood)
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Concert band
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INTERMEDIATE
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Hector Berlioz
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David Catherwood
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March to the Scaffold by Berli
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Opus 3 Music
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.739416 Composed by Hector Berlioz. Arranged by David Catherwood. Instructional,Romantic Period. Score and parts. 20 pag...
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Concert Band - Level 3 - SKU: A0.739416 Composed by Hector Berlioz. Arranged by David Catherwood. Instructional,Romantic Period. Score and parts. 20 pages. Opus 3 Music #3400285. Published by Opus 3 Music (A0.739416). An arrangement of three main themes from March to the Scaffold (Marche au Supplice) the 4th Movement from Symphonie fantastique by Berlioz.A simplified arrangement of just the main tunes to give young players the opportunity to experience playing this great music for themselves. In 4 parts plus percussion with parts provided as below to cover all the main instruments played in schools.Excellent for students studying this work to have a chance to play it in the classroom and feel the music from the inside!A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Percussion
$9.50 ≈
£7.51
Drink From the River - an original hymn for SATB voices
Drink From the River - an original hymn for SATB voices
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Drink From the River - an orig
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Kevin G. Pace
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SheetMusicPlus
SATB - Advanced Intermediate - Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian, Contemporary Christian, Praise & Worship, Gen...
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SATB - Advanced Intermediate - Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian, Contemporary Christian, Praise & Worship, General Worship, Graduation. 3 pages. Published by Kevin G. Pace
An original hymn with text by Mark Fotheringham below. Performed at the 2016 Alice Lloyd College convocation for Dr. D. Gene Pace.
YouTube video: https://youtu.be/lvo3XVJrVrw
We come to the river for to drink from the stream.
We climb up the mountainside to reach for a dream.
We come to the forest for to blaze new trails
Reaching oceans, we unfurl sails.
And for our food and our raiment we will lightly care,
For learning and knowledge is our fare.
And every page which we study, every word we write
Leads closer to the truth and the right.
May each question be answered. May our vision be clear.
May we serve with conviction that our God's ever near.
May He ever sustain us as we follow His beam
Let us drink from the river and dream.
We'll mine every theory with the zeal of our youth,
Expose every error and reveal every truth.
The joy of discovery will feed our souls
As we master our heartfelt goals.
So many friends and companions met along our way
Will reach out in friendship, ne'er to stray.
And then ascending together, every day we'll find
A soul refreshed in heart and in mind.
May each question be answered. May our vision be clear.
May we serve with conviction that our God's ever near.
May He ever sustain us as we follow His beam
Let us drink from the river and dream.
$1.99 ≈
£1.57
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
£18.96
I Sit Here on the Barren Hill
I Sit Here on the Barren Hill
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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Fiona Alice Hickie
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Fiona Alice Hickie
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I Sit Here on the Barren Hill
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Fiona Alice Hickie
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Chamber,Classical,Latin. 17 pages. Fiona Alice Hickie #1001228. Published by Fiona Alice Hickie (A0.1419806). A piece for brass quintet based on the poem by the same name. It is a slow piece is a South American style.Based on the poem: Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives. Dedicated to Ben van den Akker.
$13.99 ≈
£11.05
I Sit Here On The Barren Hill
I Sit Here On The Barren Hill
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Piano, Voice
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EASY
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Fiona Hickie
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I Sit Here On The Barren Hill
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Fiona Alice Hickie
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.738138 Composed by Fiona Hickie. Contemporary,Standards. Score. 7 pages. Fiona Alice Hickie #4853343. Published by...
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Piano,Vocal,Voice - Level 2 - SKU: A0.738138 Composed by Fiona Hickie. Contemporary,Standards. Score. 7 pages. Fiona Alice Hickie #4853343. Published by Fiona Alice Hickie (A0.738138). A song about loss of love and the devastation it causes to our lives. Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives.
$4.99 ≈
£3.94
The Home Coming March (1908) - Concert Band Score and Parts PDF
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. ...
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Concert Band - Level 3 - SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00 ≈
£23.70
Mad World for Zither or Lap Harp
Mad World for Zither or Lap Harp
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Harp
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BEGINNER
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Rock
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Adam Lambert, Tears For Fear
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Misty Allen
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Mad World for Zither or Lap Ha
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Misty Allen
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SheetMusicPlus
Harp, Zither - Easy/Beginner - By Adam Lambert, Tears For Fears. Arranged by Misty Allen. Sheet Music Single. 1 pages. Published by Misty Allen...
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Harp, Zither - Easy/Beginner - By Adam Lambert, Tears For Fears. Arranged by Misty Allen. Sheet Music Single. 1 pages. Published by Misty Allen
This is an arrangement of Mad World for zither or lap harp. Just slip the sheet music under the strings and follow the notes which are connected by lines, easily showing you which strings to pluck.
This sheet music works on T.K. O'Brien Lap Harps, Music Makers, or Melody Harps. To use with a First Act instrument, you might need to trim farther inside the guidelines, and you may possibly lose a note at the beginning or end. Typical zither tuning, from bottom to top, is G A B C D E F# G A B C D E F# G..... which is the tuning I used for this particular arrangement.
Printing Instructions:
Print onto letter-sized paper. Select "Print Actual Size", and NOT "Scale to Fit". Landscape Orientation
When you're sure you have it printing correctly, you may want to print onto card stock for added durability.
$4.99 ≈
£3.94
The Four Seasons in the Basque Country
The Four Seasons in the Basque Country
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Concert band
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Gregory Fritze
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The Four Seasons in the Basque
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Musica Nova USA
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SheetMusicPlus
Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Publishe...
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Concert Band - SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida
$100.00 ≈
£79.02
Minimalist Tribute to Darius Milhaud for Piano Solo from Three Minimalist Tributes
Minimalist Tribute to Darius Milhaud for Piano Solo from Three Minimalist Tributes
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Piano solo
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INTERMEDIATE/ADVANCED
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Michael Bomier
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Minimalist Tribute to Darius M
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.862537 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 5 pages. Michael Butkus-Bomier #2033827. ...
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Piano Solo - Level 4 - SKU: A0.862537 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 5 pages. Michael Butkus-Bomier #2033827. Published by Michael Butkus-Bomier (A0.862537). Darius Milhaud was NOT a member of the insider's group of Old Guard French composers, epitomized by Debussy and Ravel. Ravel had usupred Debussy's place as the pre-eminent modernist, and he rightly understood it was the duty of the next generation to rebel against his own work, and find their own ways and voices. Hence, Les Six was formed to accomplish this, just as Ravel's Les Apaches, ( not a Native American meaning, but a general reference to being musical warriors) had, by turns, admired, undermined, and then surpassed Debussy. The music here uses Milhaud's best-known contribution to modernity, bi-tonality. It takes the form of arpeggiated augmented major 7th chords played against each other: as the relationship between the chords comes to the tritone, each iteration slows down, but only to De-Emphasize the stark contrast, rather than bring it out. A second section uses mirrored, symmetrical patterns in each hand. The finale concludes with plain triads juxtaposed in a bi-tonal fashion, with the same contrary motion towards the tritone using a ritard and diminuendo. Approx. running time is 4 mins 30 secs. Easy to play, easy to read, not as easy to hear! Pedaling is fully indicated throughout. Debussy never used bi-tonality, and Ravel hinted at it a few times, but it was Milhaud's stock-in-trade. We'll see you on the Roof, with the Cows! Thanks for listening to ( and buying, and playing?! )these three updated French bon-bons. MBB.
$2.50 ≈
£1.98
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
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Piano solo
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Contemporary
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). ...
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Piano Solo - SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00 ≈
£3.95
The Sophisticated Hippy
The Sophisticated Hippy
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Jazz
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Horace Silver
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George Kaplan
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The Sophisticated Hippy
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George Kaplan
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SheetMusicPlus
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081039 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interac...
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081039 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 9 pages. Duration 111. George Kaplan #6aVbzZBJPv37joDoKxM0BR. Published by George Kaplan (A0.1081039). Key: Eb minor.Horace Silver had not seen the insides of a recording studio for 750 days before laying down Silver 'n Brass. His previous record, In Pursuit of the 27th Man, was unusual in its instrumentation (vibes) and for including a number of non-Silver tunes. (But the cover of Liberated Brother, from that record, did go on to become the backbone of his late 70s live shows.) So, as a prolific composer, Horace had a large backlog of tunes at his disposal as he entered the studio in January, 1975 and the 6 cuts on Silver 'n Brass are among his best. Horace broke the sessions into two: a straight-ahead post-bop session with Ron Carter (whose chubby bass spews artifacts all over the place, in his best late-70s style) and Al Foster on drums and another, more commercial session featuring Bob Cranshaw and Bernard Purdie. Wade Marcus later added horn overdubs employing an absolute who's-who of LA session players. (Word quickly got out among the cognoscenti, and Silver 'n Brass became hugely popular among fellow musicians, much to Horace's delight.) Highlights of the disc include: the composer's propulsive piano solo on Dameron's Dance, young Bob Berg's paint-peeling tenor solos (especially riveting on Kissin' Cousins) and the driving flat 9th chords of Adjustment. The tune Barbara, a gorgeous waltz dedicated to Horace's then-wife, has become a latter-day standard of sorts (Amazon's MP3 store lists a whole bunch of covers). Sophisticated Hippie, a tribute to Duke Ellington, features quite a rhythm-section workout in its closing vamp: this session would be the only time that Horace and Bernard's paths would intersect. There are no vocals this time out, just fully arresting post-bop of a high order.
$9.99 ≈
£7.89
Etude 0.5 + 2.5 from 25 Etudes using Symmetry, Mirroring and Intervals
Etude 0.5 + 2.5 from 25 Etudes using Symmetry, Mirroring and Intervals
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Piano solo
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INTERMEDIATE
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Michael Bomier
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Etude 0.5 + 2.5 from 25 Etudes
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.862543 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 6 pages. Michael Butkus-Bomier #2034361. ...
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Piano Solo - Level 3 - SKU: A0.862543 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 6 pages. Michael Butkus-Bomier #2034361. Published by Michael Butkus-Bomier (A0.862543). This piece is a cascading Minimalist waterfall of 4ths and half-steps. The half-step can be either inside or outside the 4th, and both are used, singly and mix-and-match fashion, as single notes and as chords. The fingerings are SUPER-simple. 4 2 1 or 4 3 1, usually together, but mixed as well. There are mirrored chords throughout as well. The composition uses black keys in bunches, or white keys all on their own. Keyboard topography is a large determining factor in ALL these Etudes, as the object was to create both musical moods and technical challenges, using as much hand-to-hand topographical mirroring as could be found, within a given interval or interval set. This piece has a rolling movement throughout, and even the dissonances sparkle! Approx. running time is 3 mins. Pedaling is marked throughout. MBB.
$2.50 ≈
£1.98
From The Inside Out
From The Inside Out
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Piano solo
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Gospel/Spiritual
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Sacred music
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Joel Houston
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pianoyan
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From The Inside Out
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pianoboy
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SheetMusicPlus
Piano Solo - SKU: A0.925623 Composed by Joel Houston. Arranged by pianoyan. Christian,Gospel. Score. 5 pages. Pianoboy #5825417. Published by pianoboy (...
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Piano Solo - SKU: A0.925623 Composed by Joel Houston. Arranged by pianoyan. Christian,Gospel. Score. 5 pages. Pianoboy #5825417. Published by pianoboy (A0.925623). From the Inside Out by Hillsong UNITEDThis piece is for beginner level players. If you want to hear the whole piece before buying, check out my synthesia piano tutorial on youtube!Thank you and have a blessed day ahead!
$4.99 ≈
£3.94
From The Inside Out
From The Inside Out
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Piano solo
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Gospel/Spiritual
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Sacred music
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Joel Houston
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pianoyan
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From The Inside Out
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pianoboy
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SheetMusicPlus
Piano Solo - SKU: A0.925622 Composed by Joel Houston. Arranged by pianoyan. Christian,Gospel. Score. 6 pages. Pianoboy #5825415. Published by pianoboy (...
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Piano Solo - SKU: A0.925622 Composed by Joel Houston. Arranged by pianoyan. Christian,Gospel. Score. 6 pages. Pianoboy #5825415. Published by pianoboy (A0.925622). From the Inside Out by Hillsong UNITED, arranged by pianoyanThis piece is for intermediate level players. If you want to hear the whole piece before buying, check out my synthesia piano tutorial on youtube!Thank you!
$4.99 ≈
£3.94
My Country, 'Tis of Thee (with Prayer for Guidance) - Vocal Solo with Piano Accompaniment
My Country, 'Tis of Thee (with Prayer for Guidance) - Vocal Solo with Piano Accompaniment
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Piano, Voice
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INTERMEDIATE
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Samuel Francis Smith
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K
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My Country, 'Tis of Thee
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K L Phillips
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.751817 Composed by Samuel Francis Smith (text) and Set to the tune God Save the Queen. Arranged by K.L. Phillips. ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.751817 Composed by Samuel Francis Smith (text) and Set to the tune God Save the Queen. Arranged by K.L. Phillips. Christian,Holiday,Patriotic,Sacred. Score. 6 pages. K L Phillips #6475697. Published by K L Phillips (A0.751817). This reflective arrangement of My Country, 'Tis of Thee for vocal solo with piano accompaniment would be a beautiful addition for a Memorial Day, Veteran's Day or Independence Day service. This arrangement begins with the traditional lyrics of the first verse, then the prayer for guidance and ends with the last verse. Performance time: 3:00; Vocal Range: B3-E5LYRICS: My country, 'tis of thee, Sweet land of liberty of thee I sing, of this land where my fathers died,Land of the pilgrim's prideFrom ev'ry mountain side let freedom ring!Our Father help us to live selflessly,and do Your will with our liberty help us to share,help us to care for people in this land, the souls who've lost their joy inside may we stand with them and walk beside our neighbor with Jesus as our guide God our Father and our King!Our father's God, to thee, Author of liberty to thee we sing! O Long may our land be bright with freedom's holy light.Protect us by thy might, Great God Our King! Our King! From ev'ry mountain side let freedom ring,Let freedom ring!A piano accompaniment track is available separately at Sheet Music Plus - Item ID# S0.1086275
$3.99 ≈
£3.15
From The Inside Out - Bb Clarinet 1 & 2
From The Inside Out - Bb Clarinet 1 & 2
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Clarinet (band part)
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Sacred music
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Hillsong
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Heather Sorenson
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From The Inside Out - Bb Clari
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.251977 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumental Pak. 2 pages. ...
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SKU: HX.251977 By Hillsong. By Joel Houston. Arranged by Heather Sorenson. Christian,Concert,Praise & Worship,Sacred. Choral Instrumental Pak. 2 pages. Duration 240. Hal Leonard - Digital #114378. Published by Hal Leonard - Digital (HX.251977).
$7.00 ≈
£5.53
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