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To Where Does the One Return?
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To Where Does the One Return?
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1
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
27.94€
Excerpt from the Lyric Suite
Excerpt from the Lyric Suite
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.67€
Quartet #5
Quartet #5
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Saxophone Quartet: 4 saxophones
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INTERMEDIATE
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Contemporary
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Jeff Tincher
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Quartet #5
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Jeff Tincher
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.584670 Composed by Jeff Tinch...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.584670 Composed by Jeff Tincher. Contemporary. 44 pages. Jeff Tincher #6017769. Published by Jeff Tincher (A0.584670). This composition begins with a 4/4 March. I wanted to write a composition that started with a simple chord. As the march progresses I added a mote here and there. Each note added continues until a complete musical composition is formed. But it doesn't stop there. Once the composition is formed it progresses to a solemn, smooth 5/4 section. This section then breaks apart to where each instrument has a solo. Then the solos are combined before it returns to the original rhythm with a different chord. Hear the full version of composition on Jeff Tincher's For Saxophone Quartet CD. Duration = 6:57. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99 ≈
12.12€
Quartet #5
Quartet #5
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Contemporary
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Jeff Tincher
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Quartet #5
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Jeff Tincher
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - SKU: A0.584672 Composed by Jeff Tincher. Contemporary. Score and parts. 44 pages. Jeff Tincher #6017773...
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Brass Ensemble Trombone,Trumpet,Tuba - Level 3 - SKU: A0.584672 Composed by Jeff Tincher. Contemporary. Score and parts. 44 pages. Jeff Tincher #6017773. Published by Jeff Tincher (A0.584672). This composition begins with a 4/4 March. I wanted to write a composition that started with a simple chord. As the march progresses I added a mote here and there. Each note added continues until a complete musical composition is formed. But it doesn't stop there. Once the composition is formed it progresses to a solemn, smooth 5/4 section. This section then breaks apart to where each instrument has a solo. Then the solos are combined before it returns to the original rhythm with a different chord. Hear the full version of composition on Jeff Tincher's For Brass Quartet CD. Duration = 6:57. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99 ≈
12.12€
A Whitman Triptych: II. What Is the Grass? (Downloadable)
A Whitman Triptych: II. What Is the Grass? (Downloadable)
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David Conte
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A Whitman Triptych: II. What I
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, ...
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Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise “A Whitman Triptych” were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass” was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed” as the basis for my composition “Invocation and Dance.” I went on to set “Good-Bye, My Fancy” for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road” for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. “What is the Grass?” is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.” Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,” leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…” Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.” My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…”, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.” The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42
$2.85 ≈
2.66€
Three Latin Elegies to Lesbia
Three Latin Elegies to Lesbia
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Choral SATB
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INTERMEDIATE
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Contemporary
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 page...
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Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus?torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.
Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff?s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff?s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.
Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus? earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:
Lesbia keeps insulting me in front of her husband:
thisfills the fatuous idiot with delight.
Mule, doyou perceive nothing? If she shut up and ignored me
that?dshow healthy indifference;?
In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women?s voices to paint thewords, ?Lesbia mi dicit semper male nec tacetumquam de me? (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men?s voices when Catullus says he does the same, ?quia sunt totidem mea: deprecor illamassidue? (?it?s the same with me: I?m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.
Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia?s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, ?My love for you is so great thatno other woman could possibly even know what love is.? This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
$4.99 ≈
4.66€
When You Say Nothing At All
When You Say Nothing At All
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Flute and Guitar
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INTERMEDIATE
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Keith Whitley
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Derek Hasted
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When You Say Nothing At All
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Derek Hasted
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SheetMusicPlus
Instrumental Duet Flute,Guitar,Instrumental Duet - Level 3 - SKU: A0.797825 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hast...
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Instrumental Duet Flute,Guitar,Instrumental Duet - Level 3 - SKU: A0.797825 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 12 pages. Derek Hasted #6411785. Published by Derek Hasted (A0.797825). WHEN YOU SAY NOTHING AT ALL - FLUTE and GUITARFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This lovely melody, first made famous by Alison Krauss, and more recently by Ronan Keating, makes a delightful concert piece for flute and guitar.My arrangement is based on Ronan Keating’s version, where the guitar part is a little different to the original. The music doesn’t have the slow fade-out of Keating’s piece - it’s not that easy for a flute and guitar duo on stage to emulate that! But it does have all the rest of the thematic material, including the strange but seldom noticed fact that verse two is one measure shorter than verse one. The key is the same as Keating’s version and includes the rather lovely key changes - both seem to go up slightly in pitch, yet the second key change actually returns back to the starting key.Much of the guitar part can be played in the lower positions where there’s just a little bit more sustain to help support the flute part. Where the guitar part needs sustain across the bar-lines, I have used “ties to nothing” rather than formal ties. Ties generate a lot more black on the page and make the music harder to read. I hope you enjoy performing this!
$4.99 ≈
4.66€
'Change of scene' from Act III of Wozzeck
'Change of scene' from Act III of Wozzeck
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Guitar
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INTERMEDIATE/ADVANCED
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Contemporary
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.67€
Excerpt from Lulu Suite
Excerpt from Lulu Suite
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Guitar
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Contemporary
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00 ≈
4.67€
Elegie in Eb Minor (Classical Music for Tablet Series)
Elegie in Eb Minor (Classical Music for Tablet Series)
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Piano solo
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ADVANCED
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Classical
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Stephen R Dalrymple
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Edited by Stephen R Dalrymple
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Elegie in Eb Minor
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.818281 By Stephen R Dalrymple. By Sergei Rachmaninoff. Arranged by Edited by Stephen R Dalrymple. Romantic Period....
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Instrumental Solo - Level 5 - SKU: A0.818281 By Stephen R Dalrymple. By Sergei Rachmaninoff. Arranged by Edited by Stephen R Dalrymple. Romantic Period. Individual part. 18 pages. Stephen R Dalrymple #4966281. Published by Stephen R Dalrymple (A0.818281). Élegié in E Flat Minor for solo piano (Classical Music for Tablet Series) ♫ by Sergei Vasilyevich Rachmaninoff (Opus 3.1) ♫ Rachmaninoff (born in 1873) , Russian composer, virtuoso pianist, and conductor, was considered one of the finest pianists of his day. His compositions belong to the Romantic period of music history. He graduated at the Moscow Conservatory in 1892. After the premiere of his First Symphony in 1897, the negative reaction by an important critic sent him into a tailspin of depression that lasted several years. ♫ In 1909 he performed a series of 26 performances with the Boston Symphony Orchestra in the USA. In 1914 he travelled to England for a concert tour. ♫ In February 1917 on the day the Socialist Revolution began in St Petersburg, he performed a benefit piano recital in Moscow for wounded Russian soldiers. When he returned home, he found that a group of Social Revolutionary Party members had seized his property as their own communal property. He had invested most of his earnings on the estate, but left it behind. Rachmaninoff's concert performance in Yalta on 5 September 1917 was to be his last in Russia. The chaos and tension of the October Revolution was daunting. He composed with the noise of gunshots and rallies in the background. He received an invitation to perform 10 recitals across Scandinavia. He accepted the offer, using it as an excuse to obtain permits so he and his family could flee Russia. ♫ He returned to the USA in November 1918 and America became his home. When he became an American citizen in 1943, Sergei Rachmaninoff said: “This is the only place on earth where a human being is respected for what he is and what he does, and it does not matter who he is and where he came from.” He died in March 1943 from cancer at the age of 70. (condensed from Wikipedia - October 2022) ♫ Rachmaninoff’s Opus 3 contains 5 piano pieces. The first is the Élegié in E Flat Minor, the second is the Prelude in C# Minor (one of his most famous piano compositions). This opus was finished in 1892, when he was 19 years old. The Prelude in C# Minor is loud, explosive, and declarative; the Élegié in E Flat Minor is soft, fluid, and contemplative. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Sequenced by the Editor ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99 ≈
3.72€
Flute Trio - Fairy Tales
Flute Trio - Fairy Tales
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Flute Trio: 3 flutes
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ADVANCED
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Mike Lyons
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Flute Trio - Fairy Tales
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Flute - Level 5 - SKU: A0.767564 Composed by Mike Lyons. 20th Century,Children,Contemporary. 57 pages. Lyons Music Servi...
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Woodwind Ensemble,Woodwind Trio Flute - Level 5 - SKU: A0.767564 Composed by Mike Lyons. 20th Century,Children,Contemporary. 57 pages. Lyons Music Services #6035581. Published by Lyons Music Services (A0.767564). This is a highly programmatic piece for flute trio, loosely based around one of the Grimm Brothers’ Fairy Tales Hansel and Gretel. The first movement depicts the children wandering off into the dark forest, initially surrounded by twittering birds and sunlight, but as the movement progresses, the music becomes darker. As the light fades, the children strew breadcrumbs to guide their way out of the forest when they decide to return to the village. At letter C, the mysterious chords suggest something disturbing, perhaps trees with scare faces or giant spiderwebs. At D, the change to 3/4 time suggests the children are anxious and scurrying through the trees, feeling scared, with the use of flutter tonguing suggesting their shivers of fear. Finally, out of breath, they reach the dark clearing with the Gingerbread house. The second movement describes the witch’s Gingerbread house. The top line shows the house’s roof, the middle line shows the windows and the third line marks out the porch and the front door. The children wonder at the strange building and chatter to each other as they explore it, perhaps nibbling here and there. The motif that describes the shape of the house appears from time to time throughout this section as they explore it from different angles. At letter D, after the G.P., the children begin to sense that they are not alone in the house. The low trill on the third flute is meant to be a breathy whisper (it doesn’t matter if the notes fail in performance for this reason) as the witch mutters under her breath. She attempts to pounce on the children and force them into her oven, but they are too fast for her. They trick her into the oven and slam the door shut (Bar before F.) They run from the clearing, not caring if they are going in the right direction. They glance back - once catching sight of the Gingerbread house which has begun to collapse in on itself - before they finally stop for breath as night begins to fall and they find a safe place to sleep (Lento before G.) The third movement sees our young heroes looking for the trail of breadcrumbs to take them back to the village. They are plodding through the deep forest, accompanied once more by the birds. Occasionally they find a crumb or two, but the birds have eaten most of them. They eventually manage to backtrack to the village (the music reflects this as it’s a retrograde of some of the music from movement 1) and they finally reach the village where they are greeted with a party for having killed the witch and returned safely home. This music is in a ‘pastoral style (6/8) and fades away as …they all lived happily ever after.
$25.00 ≈
23.33€
Four Songs by Felix and Fanny Mendelssohn
Four Songs by Felix and Fanny Mendelssohn
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Felix Mendelssohn
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Stephen Levintow
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Four Songs by Felix and Fanny
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Cypress Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1403057 Composed by Felix Mendelssohn (1809-1847), Fanny Mendelssohn Hensel (1805-1...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1403057 Composed by Felix Mendelssohn (1809-1847), Fanny Mendelssohn Hensel (1805-1847). Arranged by Stephen Levintow. 19th Century,Romantic Period. 29 pages. Cypress Publishing #986241. Published by Cypress Publishing (A0.1403057). The Lieder for voice and piano by Felix Mendelssohn, while of high quality, have mostly been overshadowed by those of his contemporary and friend Robert Schumann. But his Lieder ohne Worte (Songs Without Words) for piano solo with no vocal text, were and remain immensely popular, and had a great influence on his fellow composers, creating a genre of short poetic pieces for piano accessible to skilled amateurs and students as well as professionals.This set of four arrangements for string quartet begins with the best known and most loved of his vocal songs, Auf Flügeln des Gesanges (On Wings of Song), a setting of a poem by Heinrich Heine. Following are two Songs Without Words, a fine untitled one in G Major, and the famous Frühlingslied (Spring Song).In between them is a piece by his older sister, Fanny Mendelssohn Hensel, an accomplished composer with a catalog of over 450 works, some of which were originally published under Felix’s name. Like Felix, she wrote Lieder both with a sung text, and with no words, which she called Lieder für das Pianoforte. This little jewel is one of the latter, from her Opus 8. She gave it the title Lied (Lenau), a reference to the poet Nikolaus Lenau (1802-1850). But with neither sung text nor poem title indicated, it is a little mysterious. A gentle sinuous melody leads to some bold modulations before returning, not in the expected tonic key but on the dominant. Only in the last few bars does it resolve to the home key. The arrangement transposes the original D-Flat Major to D Major, which lies better for strings. CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$8.00 ≈
7.46€
E profundo for amplified clarinet & live electronics
E profundo for amplified clarinet & live electronics
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Clarinet
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INTERMEDIATE/ADVANCED
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Vladimir Vlaev
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Vladimir Vlaev
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E profundo for amplified clari
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Vladimir Vlaev
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SheetMusicPlus
B-Flat Clarinet Solo - Level 4 - SKU: A0.1115332 By Vladimir Vlaev. By Vladimir Vlaev. Arranged by Vladimir Vlaev. 20th Century,Contemporary. Individual...
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B-Flat Clarinet Solo - Level 4 - SKU: A0.1115332 By Vladimir Vlaev. By Vladimir Vlaev. Arranged by Vladimir Vlaev. 20th Century,Contemporary. Individual part. 14 pages. Vladimir Vlaev #717137. Published by Vladimir Vlaev (A0.1115332). Concert piece for clarinet and live processing of the clarinet sound (live electronics).E profundo is an experimental piece for amplified clarinet and live electronics / live processing. Therefore, the part of the electronics does not exist as a separate sound file, but it is created during the performance of the piece as particular sounds played by the clarinet player are captured by the microphone and then processed, layered and played back. The timing of each new step/preset is decided and triggered by the performer. A second performer/projectionist behind the mixer (usually me - the composer) takes care for the balance between the live and the processed part, as well as for the balance between the layers of the processed part. The piece is an exploration of the timbral capabilities of the clarinet enriched by its digitally processed counter part. E profundo is a sound story which begins in the dark deepness and travels through the entire range of the instrument to reach the fields of noise, where it gradually returns to pitched and harmonious sound.
$10.00 ≈
9.33€
Chiedi al vento di me
Chiedi al vento di me
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Piano solo
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Contemporary
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Monica Bergo
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Chiedi al vento di me
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Monica Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.976871 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3241863. Published by Monica Bergo (A0.976871).
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Piano Solo - SKU: A0.976871 Composed by Monica Bergo. Contemporary. Score. 5 pages. Monica Bergo #3241863. Published by Monica Bergo (A0.976871). 2017 Holiday Contest EntryASK AT WIND OF ME If it will touch you The breeze of summer that It ends and goes away And leave it inside you Melancholy Ask at wind of me Ask at wind of me If you will walk Between the anonymous crowd of this city And you seem to notice me You'll miss a beat Ask the wind if you want Remember us Ask him where I live and if I keep my smile Ask the wind if I understand everything I've lost Of the open-air nights Pray and hope for the best for you Ask at wind of me the Ask at wind if I could make peace with the past Ask him if I realized that my dream so wrapped up He will talk about time When I looked so much like you You will listen to it And you will understand Even mud does not hide the glow Of bright stars It does not cover the flare Remember your name is sun rising and as a phoenix you have a thousand resources It was January, but there was sun, and it was Sunday, special day That's why you were born with the fire inside To melt the ice, it's your sixth sense Crow that flies, bad omen We in our body, an eternal discomfort You look in the mirror and you find yourself beautiful You are how I see you, there is light shining If you do not find the person who looks like you in the world And you will only fool yourself In unnecessary research Because you're unique Do not let them ever change Awesome as you are And you do not have to be satisfied The semblance of a love You're a ray of sunshine Always look for his heat If no one can understand That thin sorrow Look for me Ask at wind of me Reminding me hurt you Try to forget If my name makes you suffer Try to let me go But if in a corner of the heart Allow me to stay I'll be with you in the wind ... I'm the wind that laughs It wraps you up until the summer returns ... Monica Bergo
$3.99 ≈
3.72€
Preludio in A (estudio nº15)
Preludio in A (estudio nº15)
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Antonio Jiménez Manjón
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Rui Namora
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Preludio in A
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Rui Namora
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1261509 Composed by Antonio Jiménez Manjón. Arranged by Rui Namora. 19th Century,Classical,Romantic Period. Individual...
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Solo Guitar - Level 4 - SKU: A0.1261509 Composed by Antonio Jiménez Manjón. Arranged by Rui Namora. 19th Century,Classical,Romantic Period. Individual part. 11 pages. Rui Namora #854571. Published by Rui Namora (A0.1261509). This beautiful étude, originally written for the 11-string guitar (7+4) that Antonio Manjón used, is practically unknown today. Although it was composed as an étude for this instrument, this arrangement for the 6-string guitar doesn't fail to capture its beauty. The 7-string version is faithful to the original, regarding the bass notes. This set includes a new engraving of the original in double staff and both 6 and 7 string guitar standard notation. Antonio Jimenéz Manjón (1866-1919)Antonio Jiménez Manjón was a Spanish guitarist born in 1866 in the Andalusian city of Villacarillo. Blind from an early age, he began his musical career at the age of twelve, performing in Spain and Portugal, where he played for the Portuguese King Fernando II.Soon after, the young Antonio traveled to Paris alone, where he studied violin at the Conservatory while pursuing his guitar career. He was surrounded by musicians such as Gounod, Saint-Saëns, and Sarasate.In 1887, Manjón returned to his home country and was invited by the Spanish monarchs to perform in the Royal Palace. During those years, he toured Europe with his Torres eleven-string guitar. In 1893, he crossed the Atlantic to the Americas, settling in Buenos Aires in 1902 after performing and teaching in several Latin American countries.In Argentina, he founded a conservatory and published his work Escuela de Guitarra.Antonio Jiménez Manjón passed away in 1919 in Buenos Aires.ISMN 979-0-9007524-5-1
$6.00 ≈
5.60€
When You Say Nothing At All
When You Say Nothing At All
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Keith Whitley
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Derek Hasted
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When You Say Nothing At All
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Derek Hasted
#
SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.797826 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Scor...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.797826 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 20 pages. Derek Hasted #6414637. Published by Derek Hasted (A0.797826). WHEN YOU SAY NOTHING AT ALL - GUITAR TRIO with OPTIONAL BASS PARTFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar. Derek Hasted writes This lovely melody, first made famous by Alison Krauss, and more recently by Ronan Keating, makes a delightful concert piece for guitars.My arrangement is based on Ronan Keating’s version, where the distinctive guitar accompaniment is a little different to Alison’s original. The music doesn’t have the slow fade-out of Keating’s piece - it’s not that easy for a guitar ensemble on stage to emulate that! Besides - the fade-out in Keating’s version is lots of repeated notes sung with different syllables - on the guitar it loses any sense of variety.But this arrangement does have all the rest of the thematic material, including the strange but seldom noticed fact that verse two is one measure shorter than verse one. A lot of the vocal countermelodies are here too.The optional fourth part is suitable for novice guitar, for bass or acoustic guitar or for pizzicato double bass, and is included in both treble and bass clefs. But this arrangement works fine with just three guitars too...The key is the same as Keating’s version and includes the rather lovely key changes - both seem to go up slightly in pitch, yet the second key change actually returns back to the starting key.I hope you enjoy performing this!
$4.99 ≈
4.66€
Karrinyup Fanfare
Karrinyup Fanfare
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Ben Clapton
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Karrinyup Fanfare
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Ben Clapton
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1205401 Composed by Ben Clapton. Classical,Contemporary. Score and parts. 103 pages. Ben Clapton #803587. Published b...
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Full Orchestra - Level 4 - SKU: A0.1205401 Composed by Ben Clapton. Classical,Contemporary. Score and parts. 103 pages. Ben Clapton #803587. Published by Ben Clapton (A0.1205401). An Orchestral Fanfare, written for the Metropolitan Symphony Orchestra, Perth. 2 Flutes (2nd doubling Piccolo), 2 Oboes, 2 Bb Clarinet, 2 Bassoon, 4 French Horns, 2 Trumpets in Bb, 2 Trombones, 1 Tuba, 4 Percussion (Timpani, Bass Drum, Snare Drum, Cymbals), Harp, StringsComposer's notes:2022 was a year that sparked inspiration for me. I am not talking about just one spark either, but a series that beautifully led me to the creation of my piece. After seeing the 2022 MetSO program it was evident that it lightly using the Brass players, and I knew they were feeling a bit underutilised. Which sparked the first idea in my mind to write a piece that would take full advantage of their skills, and heavily use brass instruments. The program coincided with the 45th Anniversay of the Orchestra which started it life as the Karrinyup Symphony Orchestra. Rekindling the orchestra’s relationship with the City of Stirling and returning to the City of Stirling as a rehearsal venue in 2023, was another spark of inspiration which led me towards the piece’s naming… the ‘Karrinyup Fanfare’. The last spark of inspiration was a query inside my mind. The opening of the piece contrasts two somewhat conflicting meanings of the word Karrinyup. During an Aboriginal Studies unit, I discovered that Karrinyup is a Noongar word that translates to “the place where there are spiders”. However, this differs from the City of Stirling official meaning of the name Karrinyup on the website. It states the word means “the place where Kangaroos drink”, possibly because it sounds much more pleasant and doesn’t inspire the fear that spiders often do. It was this contrary interpretation of the word ‘Karrinyup’ which provided the final spark of inspiration I needed for this composition. You see, when you listen to the opening, the theme jumps up and down through the horns, and represents the Kangaroo – Yongka. Whilst as the fanfare continues, you will notice the second theme – the crawling strings represent the spider – Kar. I hope you enjoy it as much as I did creating it. May it, and this new year, spark inspiration for you.
$75.00 ≈
69.98€
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To Where Does the One Return?
