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Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Voix Baryton, Piano
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AVANCÉ
#
Gioachino Rossini
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Nicole Elyse DiPaolo
#
Largo al factotum
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Nicole Elyse DiPaolo
#
SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Op...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations. About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
$12.06
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
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Voix Alto, Piano
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AVANCÉ
#
Classique
#
Richard Strauss
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Nicole Elyse DiPaolo
#
Wie Du warst
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Nicole Elyse DiPaolo
#
SheetMusicPlus
Alto Voice,Vocal Solo - Level 5 - SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. N...
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Alto Voice,Vocal Solo - Level 5 - SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
$12.06
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Richard Strauss
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Nicole Elyse DiPaolo
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Grossmächtige Prinzessin
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 page...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$13.95 ≈
$18.79
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
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Voix Soprano, Piano
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AVANCÉ
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Classique
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Ruggiero Leoncavallo
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Nicole Elyse DiPaolo
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Qual fiamma...Stridono lass&ug
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Nicole Elyse DiPaolo
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606). The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
$12.06
Butterfly's Day Out (viola part - mandolin/misc. instr., vla, cel)
Butterfly's Day Out (viola part - mandolin/misc. instr., vla, cel)
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861882 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 5 - SKU: A0.861882 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Connor Musik International #6205031. Published by Mark O'Connor Musik International (A0.861882). Butterfly’s Day Out (viola part – mandolin/misc instr., vla, cel) MO111BViola Part (score - cel/bs, parts available)Music by Mark O’Connor3 pages - 4:45 minutes in length Butterfly’s Day Out adapted for mandolin/misc. instr., viola and cello by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO111BCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Butterfly's Day Out (cello part - mandolin/misc. instr., vla, cel)
Butterfly's Day Out (cello part - mandolin/misc. instr., vla, cel)
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861884 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 5 - SKU: A0.861884 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Connor Musik International #6205037. Published by Mark O'Connor Musik International (A0.861884). Butterfly’s Day Out (cello part – mandolin/misc instr., vla, cel) MO111CCello Part (score - cel/bs, parts available)Music by Mark O’Connor3 pages - 4:45 minutes in length Butterfly’s Day Out adapted for mandolin/misc. instr., viola and cello by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO111CCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Butterfly's Day Out (mandolin part - mandolin/misc. instr., cel, bs)
Butterfly's Day Out (mandolin part - mandolin/misc. instr., cel, bs)
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861878 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 5 - SKU: A0.861878 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6205023. Published by Mark O'Connor Musik International (A0.861878). Butterfly’s Day Out (mandolin part – mandolin/misc instr., cel, bs) MO110BMandolin Part (score and parts available)Music by Mark O’Connor4 pages - 4:45 minutes in length Butterfly’s Day Out for mandolin/misc. instr., cello and doublebass by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO110BCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Butterfly's Day Out (score - mandolin/misc. instr., cel, bs)
Butterfly's Day Out (score - mandolin/misc. instr., cel, bs)
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861877 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861877 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6205021. Published by Mark O'Connor Musik International (A0.861877). Butterfly’s Day Out (score – mandolin/misc instr., cel, bs) MO110AScore (parts available)Music by Mark O’Connor8 pages - 4:45 minutes in length Butterfly’s Day Out for mandolin/misc. instr., cello and doublebass by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO110ACopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50 ≈
$10.10
Butterfly's Day Out (double bass part - mandolin/misc. instr., cel, bs)
Butterfly's Day Out (double bass part - mandolin/misc. instr., cel, bs)
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Trio à Cordes: violon, alto, violoncelle
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AVANCÉ
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861880 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Conn...
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String Ensemble,String Trio - Level 5 - SKU: A0.861880 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6205027. Published by Mark O'Connor Musik International (A0.861880). Butterfly’s Day Out (double bass part – mandolin/misc instr., cel, bs) MO110DDouble Bass Part (score and parts available)Music by Mark O’Connor4 pages - 4:45 minutes in length Butterfly’s Day Out for mandolin/misc. instr., cello and doublebass by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO110DCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Butterfly's Day Out (cello part - mandolin/misc. instr., cel, bs)
Butterfly's Day Out (cello part - mandolin/misc. instr., cel, bs)
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Trio à Cordes: violon, alto, violoncelle
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AVANCÉ
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861876 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 5 - SKU: A0.861876 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 7 pages. Mark O'Connor Musik International #6205025. Published by Mark O'Connor Musik International (A0.861876). Butterfly’s Day Out (cello part – mandolin/misc instr., cel, bs) MO110CCello Part (score and parts available)Music by Mark O’Connor3 pages - 4:45 minutes in length Butterfly’s Day Out for mandolin/misc. instr., cello and doublebass by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO110CCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Butterfly's Day Out (mandolin part - mandolin/misc. instr., vla, cel)
Butterfly's Day Out (mandolin part - mandolin/misc. instr., vla, cel)
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Trio à Cordes: violon, alto, violoncelle
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AVANCÉ
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Mark O'Connor
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Butterfly's Day Out
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - SKU: A0.861879 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Conno...
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String Ensemble,String Trio - Level 5 - SKU: A0.861879 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6205029. Published by Mark O'Connor Musik International (A0.861879). Butterfly’s Day Out (score – mandolin/misc instr., vla, cel) MO111AMandolin Part (score - cel/bs, parts available)Music by Mark O’Connor4 pages - 4:45 minutes in length Butterfly’s Day Out adapted for mandolin/misc. instr., viola and cello by O’Connor is on the album Appalachia Waltz featuring Yo-Yo Ma and Edgar Meyer. The piece was one of the stand-out cuts, receiving a wide variety of radio play, and bringing the trio’s music to new audiences. Written originally for the mandolin, it surely is one of O’Connor’s most memorable mandolin melodies. With the aid of Edgar Meyer arranging the fabulous cello and bass solo sections, the piece can be performed in a variety of instrumental settings. The mandolin part could be also covered by guitar, piano, harp or most any chordal instrument. The piece was named by a young music student at an inner-city camp for underprivileged youths. At his workshop, O’Connor performed his new piece on the mandolin and asked for the kids to help him name it. The title, Butterfly’s Day Out, helped O’Connor complete his vision for the tune. The whole experience also inspired the idea for O’Connor to start his own Fiddle Camps. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994 Composed by Mark O’ConnorOriginally released on Appalachian Waltz featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalOther versions of Butterfly’s Day Out can be heard on Mark O’Connor’s Thirty-Year Retrospective OMAC Records, A Musical Legacy OMAC Records and The Essential Mark O’Connor Sony Classical Catalogue Number MO111ACopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
I'm The Schools Pianist
I'm The Schools Pianist
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Ensemble Jazz
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AVANCÉ
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Robert Hada
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I'm The Schools Pianist
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Robert Hada
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.1027950 Composed by Robert Hada. Jazz,Musical/Show. Score and parts. 56 pages. Robert Hada #3106883. Pub...
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Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.1027950 Composed by Robert Hada. Jazz,Musical/Show. Score and parts. 56 pages. Robert Hada #3106883. Published by Robert Hada (A0.1027950). (Theme of Bob Hada/Piano Song).Lyrical Form:Classical Rap Swing #1:- I go to the school name Mount Miguel,I'd been around here since 2012,I've shown myself with the fame and glory,And who I am, Well,Big Fun Swing #1:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Classical Rap Swing #2:- For those of you that don't know me,The name is Bob that's short for Robert,My main powers are the musical skills,And for I got, Well,Big Fun Swing #2:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Scat Singing #1 while soloists will proceed to rock out.Scat Singing #2 while entering into the last chorus.Big Fun Swing #3:- I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!I'm The Schools Pianist that I'm The Schools,Pianist that I'm The Schools Pianist that I'm The Schools,Pianist oh yeah!Ending with an important quotation:- That's right, I am The Schools Pianist! - Bob Hada
$4.50 ≈
$6.06
Tuesday Morning at School (a 9/11 Story)
Tuesday Morning at School (a 9/11 Story)
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Chorale SATB
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AVANCÉ
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Stephen Sullivan
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Original Score
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Tuesday Morning at School
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Stephen Sullivan Arts
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SheetMusicPlus
Instrumental Duet,Piano Electric Guitar,Instrumental Duet,Keyboard,Piano - Level 5 - SKU: A0.1385825 By Stephen Sullivan. By Stephen Sullivan- arranged ...
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Instrumental Duet,Piano Electric Guitar,Instrumental Duet,Keyboard,Piano - Level 5 - SKU: A0.1385825 By Stephen Sullivan. By Stephen Sullivan- arranged for SATB and Rock Band. Arranged by Original Score. 21st Century,Patriotic,Rock,Singer/Songwriter. 16 pages. Stephen Sullivan Arts #969765. Published by Stephen Sullivan Arts (A0.1385825). Based on the events of 9/11 and including audio clips from where the airport officials indicated the carnage on board one of the planes that struck the former World Trade Centers 1 and 2 on Tuesday, September 11th, 2001. I was 12 and a half years old at the time, and my brother was 10 and a half. Before he woke up, he had nightmares about flames. That was really creepy. The song centers on the trauma that the elementary school students across the street from the destruction in Manhattan faced as they witnessed the planes strike the towers, and everything that ensued. It uses the opening melody of Rachmaninoff's 2nd Piano Concerto, repeated and with the addition of drums, a wild bass solo, and some electric guitar riffs. It's a little painful even for me to listen to. I listened to it a lot this evening before posting it for sale.Stephen Sullivan- 02/20/2024Southeast Indiana *.
$4.99 ≈
$6.72
Strings & Threads Suite (score - adapted for violin and guitar)
Strings & Threads Suite (score - adapted for violin and guitar)
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Violon, Guitare (duo)
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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Strings & Threads Suite
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Mark O'Connor Musik International
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861797 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts....
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Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861797 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 28 pages. Mark O'Connor Musik International #6202083. Published by Mark O'Connor Musik International (A0.861797). Strings & Threads Suite (adapted for violin and guitar) MO171AScore (violin and guitar parts available)Music by Mark O’Connor24 pages - 15:00 minutes in length I. Fair Dancer ReelII. Sailor’s JigIII. Captain’s JigIV. Off To SeaV. Pilgim’s WaltzVI. Road To AppalachiaVII. Shine OnVIII. Cotton Pickin’ BluesIX. Pickin’ Parlor RagX. Queen Of The CumberlandXI. Texas Dance Hall BluesXII. Swing 11:11XIII. Sweet Suzanne Strings & Threads Suite adapted for violin and guitar is a piece comprising of thirteen tunes composed by Mark O’Connor. In 1986, the Tennessee Dance Theater commissioned the Suite from O’Connor to be performed as a violin solo at Nashville’s Summer Lights Festival. The individual tunes are in various folk styles appearing in a chronological form for which O’Connor says not only represents the evolution of American folk music, but also mirrors his own family’s migration from Ireland and Holland to America. It traces the family’s route through the thirteen colonies initially, and then eventually out West during WWl nearly 300 hundred years later. O’Connor wrote the pieces in a manner and style in which he felt his family could have heard along the way. The Suite begins with Irish music, maybe similar to what O’Connor’s family brought with them. Then in a thoughtful progression, reveals music they must of encountered living in early America. Strings & Threads musically describes how folk music styles hundreds of years apart are interconnected - possessing a common thread, from an Irish reel to jazz. The music is suited for advanced and intermediate.Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1986 Composed By Mark O’ConnorAdaptation for violin and guitar was commissioned by Sharon Isbin in 2006, and won a Grammy for BEST INSTRUMENTAL SOLOIST PERFORMANCE (WITHOUT ORCHESTRA) IN 2009Strings & Threads Suite (adapted for violin and guitar) can be heard on Journey to the New World by Sharon Isbin, Sony Classical Mark O’Connor – violin, Sharon Isbin - guitarCatalogue Number MO171ACopyright © 1986 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$22.50 ≈
$30.31
Strings & Threads Suite (violin part - adapted for violin and guitar)
Strings & Threads Suite (violin part - adapted for violin and guitar)
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Violon, Guitare (duo)
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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Strings & Threads Suite
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Mark O'Connor Musik International
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861798 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts....
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Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861798 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 18 pages. Mark O'Connor Musik International #6202085. Published by Mark O'Connor Musik International (A0.861798). Strings & Threads Suite (violin part - adapted for violin and guitar) MO171BViolin Part (score and guitar parts available)Music by Mark O’Connor14 pages - 15:00 minutes in length I. Fair Dancer ReelII. Sailor’s JigIII. Captain’s JigIV. Off To SeaV. Pilgim’s WaltzVI. Road To AppalachiaVII. Shine OnVIII. Cotton Pickin’ BluesIX. Pickin’ Parlor RagX. Queen Of The CumberlandXI. Texas Dance Hall BluesXII. Swing 11:11XIII. Sweet Suzanne Strings & Threads Suite adapted for violin and guitar is a piece comprising of thirteen tunes composed by Mark O’Connor. In 1986, the Tennessee Dance Theater commissioned the Suite from O’Connor to be performed as a violin solo at Nashville’s Summer Lights Festival. The individual tunes are in various folk styles appearing in a chronological form for which O’Connor says not only represents the evolution of American folk music, but also mirrors his own family’s migration from Ireland and Holland to America. It traces the family’s route through the thirteen colonies initially, and then eventually out West during WWl nearly 300 hundred years later. O’Connor wrote the pieces in a manner and style in which he felt his family could have heard along the way. The Suite begins with Irish music, maybe similar to what O’Connor’s family brought with them. Then in a thoughtful progression, reveals music they must of encountered living in early America. Strings & Threads musically describes how folk music styles hundreds of years apart are interconnected - possessing a common thread, from an Irish reel to jazz. The music is suited for advanced and intermediate.Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1986 Composed By Mark O’ConnorAdaptation for violin and guitar was commissioned by Sharon Isbin in 2006, and won a Grammy for BEST INSTRUMENTAL SOLOIST PERFORMANCE (WITHOUT ORCHESTRA) IN 2009Strings & Threads Suite (adapted for violin and guitar) can be heard on Journey to the New World by Sharon Isbin, Sony Classical Mark O’Connor – violin, Sharon Isbin - guitarCatalogue Number MO171BCopyright © 1986 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$18.00 ≈
$24.24
Strings & Threads Suite (guitar part - adapted for violin and guitar)
Strings & Threads Suite (guitar part - adapted for violin and guitar)
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Violon, Guitare (duo)
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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Strings & Threads Suite
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Mark O'Connor Musik International
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861799 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts....
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Instrumental Duet Guitar,Instrumental Duet,Violin - Level 5 - SKU: A0.861799 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 18 pages. Mark O'Connor Musik International #6202089. Published by Mark O'Connor Musik International (A0.861799). Strings & Threads Suite (guitar part - adapted for violin and guitar) MO171CGuitar Part (score and violin part available)Music by Mark O’Connor14 pages - 15:00 minutes in length I. Fair Dancer ReelII. Sailor’s JigIII. Captain’s JigIV. Off To SeaV. Pilgim’s WaltzVI. Road To AppalachiaVII. Shine OnVIII. Cotton Pickin’ BluesIX. Pickin’ Parlor RagX. Queen Of The CumberlandXI. Texas Dance Hall BluesXII. Swing 11:11XIII. Sweet Suzanne Strings & Threads Suite adapted for violin and guitar is a piece comprising of thirteen tunes composed by Mark O’Connor. In 1986, the Tennessee Dance Theater commissioned the Suite from O’Connor to be performed as a violin solo at Nashville’s Summer Lights Festival. The individual tunes are in various folk styles appearing in a chronological form for which O’Connor says not only represents the evolution of American folk music, but also mirrors his own family’s migration from Ireland and Holland to America. It traces the family’s route through the thirteen colonies initially, and then eventually out West during WWl nearly 300 hundred years later. O’Connor wrote the pieces in a manner and style in which he felt his family could have heard along the way. The Suite begins with Irish music, maybe similar to what O’Connor’s family brought with them. Then in a thoughtful progression, reveals music they must of encountered living in early America. Strings & Threads musically describes how folk music styles hundreds of years apart are interconnected - possessing a common thread, from an Irish reel to jazz. The music is suited for advanced and intermediate.Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1986 Composed By Mark O’ConnorAdaptation for violin and guitar was commissioned by Sharon Isbin in 2006, and won a Grammy for BEST INSTRUMENTAL SOLOIST PERFORMANCE (WITHOUT ORCHESTRA) IN 2009Strings & Threads Suite (adapted for violin and guitar) can be heard on Journey to the New World by Sharon Isbin, Sony Classical Mark O’Connor – violin, Sharon Isbin - guitarCatalogue Number MO171CCopyright © 1986 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$18.00 ≈
$24.24
Pachelbel: Canon for Solo Contrabass
Pachelbel: Canon for Solo Contrabass
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Classique
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Johann Pachelbel
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James M
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Pachelbel: Canon for Solo Cont
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jmsgu3
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SheetMusicPlus
Double Bass,Instrumental Solo - Level 5 - SKU: A0.552085 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wed...
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Double Bass,Instrumental Solo - Level 5 - SKU: A0.552085 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. Individual part. 2 pages. Jmsgu3 #6116385. Published by jmsgu3 (A0.552085). The famous wedding classic arranged for Solo Contrabass.Duration: 2:12Score: 2 pages.The famous Pachelbel Canon arranged for Solo Contrabass. A great choice for weddings & receptions! Pachelbel's Canon Pachelbel's Canon is, in fact, the traditional title for a composition by the German composer Johann Pachelbel. Other names for the work include namely: Canon and Gigue for 3 violins and basso continuo, Canon and Gigue in D, and of course Canon in D. We do not know when or why in particular it was written. The oldest copy is surprisingly from the 19th century. It is important to realize that it was a common routine for organists to practice improvisation on the chord progression underlying the canon. Pachelbel originally scored the Canon notably for three violins and continuo. He also in fact paired the Canon with a gigue. The movements are homotonal, to clarify, both are in the key of D major. History In due time, Pachelbel's Canon went out of style and remained in virtual oblivion for centuries. The Jean-François Paillard chamber orchestra, however, recorded an arrangement of it in 1968. As a result, it gained approval. Many ensembles began likewise to record the piece in the 1970s and by the 1980s became ubiquitous as background music. From the 1970s to the early 2000s, pop songs correspondingly used elements of the piece. The chord progression, in particular, was used this way. Also, since the 1980s, it has been not only wildly popular for weddings, but also for funeral ceremonies in the USA and Europe. Pachelbel Background Johann Pachelbel (1653 –1706) was a German composer, as well as an organist. He was furthermore instrumental in bringing the south German organ school to its apex. He wrote a large body of music, both sacred and, equally important, secular. In particular, he uniquely helped develop the chorale prelude and fugue. For this, he has, in fact, earned a rightful place in the company of the most significant composers of the mid-Baroque period. Works Pachelbel's music was certainly popular. With this in mind, he also consequently had many pupils. His music expressly developed into a model for south German composers. Nowadays, Pachelbel is most famous, particularly for the Canon in D, as well as the F minor Chaconne, the Toccata in E minor, and of course the Hexachordum Apollinis, a set of variations for the keyboard. Influences Johann Jakob Froberger and Johann Caspar Kerll were south German composers who significantly influenced Pachelbel. Furthermore, he was especially influenced by Italians such as Frescobaldi and Poglietti. He frequently preferred an articulate, simple contrapuntal style that highlighted clarity. His music is markedly less extravagant and harmonically adventurous than that of Dieterich Buxtehude. However, as a point often overlooked, like Buxtehude, Pachelbel experimented with different instrumental combinations in his chamber music. Legacy All in all, Pachelbel was most famous as a composer for the keyboard. He composed over two hundred pieces specifically for the instrument. Pachelbel was also surprisingly a prolific composer of vocal music. All in all, about a hundred vocal works survive, including 40 or so large-scale works.
$34.95 ≈
$47.08
The Man I Love
The Man I Love
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Voix Soprano, Piano
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AVANCÉ
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George Gershwin, Ira Gershwin
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Scott S
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The Man I Love
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Scott S. Stewart
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 5 - SKU: A0.955836 Composed by George Gershwin, Ira Gershwin. Arranged by Scott S. Stewart. 20th Century,Blues,Instruct...
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Soprano voice,Vocal Solo - Level 5 - SKU: A0.955836 Composed by George Gershwin, Ira Gershwin. Arranged by Scott S. Stewart. 20th Century,Blues,Instructional,Standards. 5 pages. Scott S. Stewart #6320277. Published by Scott S. Stewart (A0.955836). Classically trained singers are generally first contact for most elementary, middle school and high school students via in-school programs, out-reach programs, etc. For those YAP programs/Studio Artists programs popular music arrangements are needed, and those available leave the singer oft' times wanting something more... This arrangement of The Man I Love restores both verse and refrain, flushes out the accompaniment with Gershwin's own stylings in one complete performance package. The attempt is to create an equal ensemble of two, rather than singer and her accompanist.
$9.99 ≈
$13.46
String Quartet No. 3 "Old-Time" (violin 1 part - two vlns, vla, cel)
String Quartet No. 3 "Old-Time" (violin 1 part - two vlns, vla, cel)
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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String Quartet No. 3 "Old
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Mark O'Connor Musik International
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.861789 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 34 page...
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String Quartet String Quartet - Level 5 - SKU: A0.861789 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 34 pages. Mark O'Connor Musik International #6201731. Published by Mark O'Connor Musik International (A0.861789). String Quartet No. 3 Old-Time (Score – two vlns, vla, cel) MO169BViolin 1 Part (score and parts available)Music by Mark O’Connor30 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600’s, and eventually traveled down the Appalachians to settle in the South in the early 1800’s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2007 Composed By Mark O’ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.’s 2 & 3 OMAC RecordsRecorded by Mark O’Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169BCopyright © 2007 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$15.00 ≈
$20.20
String Quartet No. 3 "Old-Time" (viola part - two vlns, vla, cel)
String Quartet No. 3 "Old-Time" (viola part - two vlns, vla, cel)
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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String Quartet No. 3 "Old
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Mark O'Connor Musik International
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.861790 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 page...
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String Quartet String Quartet - Level 5 - SKU: A0.861790 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 pages. Mark O'Connor Musik International #6201735. Published by Mark O'Connor Musik International (A0.861790). String Quartet No. 3 Old-Time (viola – two vlns, vla, cel) MO169DViola Part (score and parts available)Music by Mark O’Connor28 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600’s, and eventually traveled down the Appalachians to settle in the South in the early 1800’s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2007 Composed By Mark O’ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.’s 2 & 3 OMAC RecordsRecorded by Mark O’Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169DCopyright © 2007 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$15.00 ≈
$20.20
String Quartet No. 3 "Old-Time" (cello part - two vlns, vla, cel)
String Quartet No. 3 "Old-Time" (cello part - two vlns, vla, cel)
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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String Quartet No. 3 "Old
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Mark O'Connor Musik International
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.861791 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 28 page...
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String Quartet String Quartet - Level 5 - SKU: A0.861791 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 28 pages. Mark O'Connor Musik International #6201737. Published by Mark O'Connor Musik International (A0.861791). String Quartet No. 3 Old-Time (cello part – two vlns, vla, cel) MO169ECello Part (score and parts available)Music by Mark O’Connor24 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600’s, and eventually traveled down the Appalachians to settle in the South in the early 1800’s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2007 Composed By Mark O’ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.’s 2 & 3 OMAC RecordsRecorded by Mark O’Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169ECopyright © 2007 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$15.00 ≈
$20.20
String Quartet No. 3 "Old-Time" (violin 2 part - two vlns, vla, cel)
String Quartet No. 3 "Old-Time" (violin 2 part - two vlns, vla, cel)
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mark O’Connor
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Mark O'Connor
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String Quartet No. 3 "Old
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Mark O'Connor Musik International
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.861788 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 page...
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String Quartet String Quartet - Level 5 - SKU: A0.861788 Composed by Mark O'Connor. 20th Century,Contemporary,Folk,Traditional. Score and parts. 32 pages. Mark O'Connor Musik International #6201733. Published by Mark O'Connor Musik International (A0.861788). String Quartet No. 3 Old-Time (violin 2 part – two vlns, vla, cel) MO169CViolin 2 Part (score and parts available)Music by Mark O’Connor28 pages - 24:00 minutes in lengthMovement I (5:02)Movement II (5:38)Movement III (3:18)Movement IV (9:46)String Quartet No. 3 (Old-Time) was composed on the occasion marking 400 years of history dating from the days of the first European settlements. My specific task from the Hudson Commission was to concentrate music based on the natural habitat and beauty of the Hudson as well as on the time of the first European settlers. It was natural for me to think about old-time fiddling in this light. In 1909 Washington Irving described the Catskill Mountains as a dismembered branch of the Appalachian Mountains. My own Dutch ancestors settled in the Hudson Valley in the early 1600’s, and eventually traveled down the Appalachians to settle in the South in the early 1800’s. The old-time fiddling that dominated those areas along that route is the musical language utilized in creating this String Quartet.For the musical genesis of the Quartet, I initially created phrases from the fiddle that were molded out of old-time fiddling tradition. With technical twists and turns, the phrases became unique and new but all the while still connected to the tradition. It is these phrases that I used as material to create the String Quartet. Through the process of composing, techniques such as re- harmonization, development, canonic applications spill over each other like the Hudson tributaries in the Adirondacks. The counterpoint of the Quartet invigorates and establishes itself. The result is a wholly participating body emphasizing transitions from the traditional to the contemporary in sound and style. The music here is no longer fiddle music as the inventions of the quartet embarks on a new story, a new way to play, and with a new musical idea to put forward. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2007 Composed By Mark O’ConnorCommissioned by the Santa Fe and La Jolla Chamber Music FestivalsString Quartet No. 2 Bluegrass) can be heard on String Quartets No.’s 2 & 3 OMAC RecordsRecorded by Mark O’Connor - violin, Ida Kavafian - violin, Paul Neubauer - viola, Matt Haimovitz - cellohttps://omacrecords.com/omac-14-string-quartets-2-3 Catalogue Number MO169CCopyright © 2007 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$15.00 ≈
$20.20
Al Circo (To the Circus) for Trombone and Harp
Al Circo (To the Circus) for Trombone and Harp
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Contemporain
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Stout, David
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Setzer, Louis
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Al Circo
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Cherry Classics Music
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SheetMusicPlus
Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Clas...
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Trombone, Harp - Advanced - Composed by Stout, David. Arranged by Setzer, Louis. 20th Century, Contemporary Classical, Modern, Post- Modern, Neo-Classical. Set of Parts. 22 pages. Published by Cherry Classics Music
Al Circo (To the Circus) was written in 1968 by David Stout, dedicated to Emory Remington and was premiered by Trombonist Fred Boyd on a recital at the Eastman School of Music with Carolyn Kuban performing on the Harp. The work is in two movements, both in a lighter nature and humorous. Mute colors are an important part of the mood of the work.
David Stout writes about his work:
"I wrote this when I was a junior at the Eastman School of Music. Fred Boyd, a bass trombonist, wanted to play it. At the bottom of page 4, on the trombone part, where it says ?hand in bell? he had a problem. With a bass trombone he couldn?t reach around far enough to put his hand in deep enough to distort the tone enough. So, he calls me into his practice room one day and tells me to turn around so I can?t see him. He then plays that passage. ?Is that the sound you want?? he asks. ?Yeah that?s it. Perfect!? I reply. I turn around. He shows me a large plastic fish that he had used to shove in the bell. So on his part, we mark those notes, ?con sardino.?
Dr. Louis Setzer, the author of Solo Literature for Trombone and Harp - An Annotated Bibliography, rediscovered the work and received permission from the composer to edit the composition from the original pencil manuscript. He believes this work is the oldest known original composition for Trombone and Harp
This fine work is appropriate for advanced performers and is about 7 minutes in length.
$25.00 ≈
$33.67
Miscellany, 7 Short Movements For Piano Solo
Miscellany, 7 Short Movements For Piano Solo
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Piano seul
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AVANCÉ
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PIano - Sebastian Kurz
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Miscellany, 7 Short Movements
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Geraldine
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Perio...
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Piano Solo - Level 5 - SKU: A0.1314290 By PIano - Sebastian Kurz. By Geraldine (Denny) Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. Score. 27 pages. Geraldine (Denny) Green at Oakmountmusic #903031. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314290). Written in 2008, Miscellany, 7 short movements for solo piano, was Commissioned by conductor/pianist Anthony Davie.Duration: approx 15 minutes in total.Inspired by friends, family and general life experiences, this set of short pieces encompasses a range of moods; from Romantic and melodic to comical and dissonant.Movement 1. Didi – Didi was a very unique and special friend for many years. She gave out great spiritual strength and insight into this very confusing world in which we all live. She was a real tower of quiet, gentle strength.Movement 2. Brew! – This movement was inspired directly by the Brewing Industry. It strives to depict the hustle and bustle of a busy, working brewery and the the many hilarious, fabulous people I met during my three years in the beer-making industry.Movement 3 – Convent Cherub – This little piece began life as the opening title music of a film score I worked on while at college. The film itself, entitled My Brother Rob, was made by Alison Hilder, a student director at the Harrow School of Film. The story told of a young boy traumatised by a convent boarding school up-bringing. I have felt for many years that this little main theme has needed an alternative home, as much film music is never played again.Movement 4 – Megan – This movement comes directly from my wonderful and beautiful daughter, who was 5 years old at the time of the writing of this piece. It seeks to express her wild vibrance, eternal cheekiness, infinite energy, sparkle and the utter fearlessness of youth.Movement 5 – Edward – This music is for my gorgeous little son, who has Down’s Syndrome, and was only 3 at the time of the writing of this piece. The opening came to me moments after the doctor had confirmed Edward had Down’s, when he was only 6 hours old. The music tries to convey the fear of the unknown, huge unconditional love and moments of uncertainty alternated by washes of strength. And yet, all through the fear the resolve to forever love and stay strong always wins.Movement 6 – Indifference – The opening 4 notes are the core of this movement, and the piece is built around and from them. This music is an observation of deep, rumbling frustration at the indifference growing in our fast moving, modern society.Movement 7 – “Wee Us†– This movement expresses family triumph, the gifts of life and love, and the glory of boundless, wild, youthful energy. This tune has not yet run its course. It will be back!
$12.00 ≈
$16.16
Out Loud
Out Loud
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Cage The Elephant
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Jim Farley
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2 and Trombone
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Out Loud
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Jim Farley arrangementsone.com
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SheetMusicPlus
Alto Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 5 - SKU: A0.1425111 By Cage The Elephant. By (P/k/a Caitly...
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Alto Saxophone,Bass Guitar,Drums,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 5 - SKU: A0.1425111 By Cage The Elephant. By (P/k/a Caitlyn Smith), Caitlyn Elizabeth Gaalswyk, and Matthew Shultz. Arranged by Jim Farley. Pop,Rock,Singer/Songwriter. 43 pages. Jim Farley arrangementsone.com #1005929. Published by Jim Farley arrangementsone.com (A0.1425111). Arranged for a 7-9- piece horn band, including: Directors score, Piano/Vocal/Guitar, Leadsheet, Guitar, Bass Guitar, Drums, Alto/Tenor Sax (identical), Trumpets 1 & 2 and Trombone.To hear the complete arrangement, click here.ABOUT THE ARRANGER: Jim Farley has been a professional musician, arranger and composer since the mid 1970's and has thousands of works, spanning various genres, in his catalogue: Musical Theater, College and High School Pep Band, Orchestra and Show Choir, Las Vegas and Cruise Ship performers as well as dozens of classic rock horn bands throughout the U.S., Canada, Europe and Australia. If you need additional arranging of some sort... key change... instrumental change... or an original song... contact Jim at jfarley@arrangementsone.com and visit his website at ARRANGEMENTS ON E!
$74.99 ≈
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