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Vous avez sélectionné:
Easy As It Seems
Partitions à imprimer
51 partitions trouvées
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1
26
51
Easy As It Seems
Easy As It Seems
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Basse electrique
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FACILE
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Kiss
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Rhys Lett
#
Easy As It Seems
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Eastern Suburbs School of Music
#
SheetMusicPlus
Bass Guitar TAB - Level 2 - SKU: A0.1488561 By Kiss. By Paul Stanley and Vini Poncia. Arranged by Rhys Lett. Pop,Rock. Score. 3 pages. Eastern Suburbs S...
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Bass Guitar TAB - Level 2 - SKU: A0.1488561 By Kiss. By Paul Stanley and Vini Poncia. Arranged by Rhys Lett. Pop,Rock. Score. 3 pages. Eastern Suburbs School of Music #1065428. Published by Eastern Suburbs School of Music (A0.1488561). Easy As It Seems by KISS bass tab transcription from the album Unmasked.
$6.00
The Sussex Carol - easy piece for guitar trio
The Sussex Carol - easy piece for guitar trio
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3 Guitares (trio)
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FACILE
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Various
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Derek Hasted
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The Sussex Carol - easy piece
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Derek Hasted
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1281892 By Various. By Traditional English. Arranged by Derek Hasted. Christmas,Traditional. 12 pages. Derek Hasted #873244. ...
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Guitar - Level 2 - SKU: A0.1281892 By Various. By Traditional English. Arranged by Derek Hasted. Christmas,Traditional. 12 pages. Derek Hasted #873244. Published by Derek Hasted (A0.1281892). THE SUSSEX CAROL - Very playable arrangement for GUITAR TRIO or larger ensembleFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This is perfect as an easy-to-play addition to any Christmas Concert.This charming English carol is arranged here for 3 early intermediate guitars (or a larger ensemble).This was captured and written down by Cecil Sharp, the Folk Song collector, and by Ralph Vaughan Williams who heard it in Horsham, in Sussex.My arrangement gives everyone a chance to play the tune, and each of the verses has a slightly different texture. There are also key changes so that each verse seems to move up a gear.It can be played entirely in the first and second position, or more experienced players may want to take the higher notes further up the neck. The tune is indicated by a change of volume, but please feel free to add other volume and/or tone changes to make the performance “yoursâ€.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$1.99
Etudes pour piano
Etudes pour piano
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Piano Facile
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FACILE
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Methodes Etudes
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Gyorgy Ligeti
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Etudes pour piano
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Schott Music - Digital
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SheetMusicPlus
Piano - difficult - Digital Download Deuxieme livre. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Contemporary music, Piano. Dow...
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Piano - difficult - Digital Download Deuxieme livre. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Contemporary music, Piano. Downloadable. Op. Vol. 2. Duration 22 minutes. Schott Music - Digital #Q16454. Published by Schott Music - Digital
At first, it all sounds very easy. The notes leap through and over one another as if conjured up by a magician. However, nothing goes quite as smoothly as it seems, and here and there the music snags. notes get in each other's way and somehow it all gets somewhat out of hand. Our young Harry Potter still has a lot to learn ... Ligeti has a brilliant grasp of how to capture the essence of this scene in music. With a generous portion of wit and reminiscences of "minimal music" a la Steve Reich, the composer allows the story to unfold and is effortlessly successful in creating one of the most difficult pieces in the entire piano literature. Tempo and hectic activity, active agitation and slapstick stumbling: this all combines to illustrate "The Apprentice Wizard".
$27.99
Beethoven: Sonata Op. 49 No. 2 for String Orchestra
Beethoven: Sonata Op. 49 No. 2 for String Orchestra
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Orchestre à Cordes
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FACILE
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Classique
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Ludwig van Beethoven
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James M
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Beethoven: Sonata Op. 49 No. 2
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jmsgu3
#
SheetMusicPlus
String Orchestra - Level 2 - SKU: A0.549863 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Instructional,Stand...
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String Orchestra - Level 2 - SKU: A0.549863 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Instructional,Standards,World. Score and parts. 52 pages. Jmsgu3 #3557749. Published by jmsgu3 (A0.549863). Beethoven Sonata Op. 49 No. 2 arranged for string orchestra. Duration: 10:15 Score: 28 pages, 242 measures. In two movements. I arranged this for my own beginner orchestra. Easy to rehearse and perform. Very popular with the audience. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$49.95
Beethoven: Sonata Op. 49 No. 2 for Brass Quintet
Beethoven: Sonata Op. 49 No. 2 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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James M
#
Beethoven: Sonata Op. 49 No. 2
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Tuba - Level 3 - SKU: A0.549869 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,St...
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Brass Ensemble Horn,Trombone,Tuba - Level 3 - SKU: A0.549869 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Standards,Wedding,World. Score and parts. 57 pages. Jmsgu3 #3559131. Published by jmsgu3 (A0.549869). Beethoven Sonata Op. 49 No. 2 arranged for brass quintet. Duration: ca: 10:15 Score: 30 pages, 242 measures. In two movements. A great recital piece to demonstrate the many subtle nuances of the brass quintet. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$49.95
Beethoven: Sonata Op. 49 No. 2 for Woodwind Quintet
Beethoven: Sonata Op. 49 No. 2 for Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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James M
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Beethoven: Sonata Op. 49 No. 2
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.549868 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,S...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.549868 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Standards,Wedding,World. 56 pages. Jmsgu3 #3559227. Published by jmsgu3 (A0.549868). Beethoven Sonata Op. 49 No. 2 arranged for woodwind quintet.Instrumentation: 1 flute, 1 oboe, 1 clarinet in Bb, 1 French horn, 1 bassoon.Duration: ca: 10:15 Score: 30 pages, 242 measures. In two movements. A great recital piece to demonstrate nuances of the woodwind quintet. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com
$49.95
Jingle Bells for Baritone Horn & Piano
Jingle Bells for Baritone Horn & Piano
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Noël
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James Pierpont
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James M
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Jingle Bells for Baritone Horn
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jmsgu3
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SheetMusicPlus
Baritone Horn TC,Euphonium,Piano - Level 1 - SKU: A0.552826 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. ...
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Baritone Horn TC,Euphonium,Piano - Level 1 - SKU: A0.552826 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 8 pages. Jmsgu3 #3408519. Published by jmsgu3 (A0.552826). Jingle Bells arranged for baritone horn (treble clef) and piano. Easy! Jingle Bells is perhaps the most famous songs in American music history. James L. Pierpont published the song as One Horse Open Sleigh in the late 1850’s. Since its introduction, people began to insist that Pierpont wrote it for a Sunday school choir. However, it seems unlikely that such a secular song would be considered appropriate during that historical period for Sunday school.Christmas Repertoire Pierpont wrote the song for the Thanksgiving holidays, but over time people began to think of it more as a Christmas song. Some choirs adopted it as part of their Christmas repertoire in the 1860s and 1870s. Jingle Bells was first recorded in 1889 on a wax cylinder. Origins No one knows where Pierpont composed the song. One theory suggests he wrote it in Medford Massachusetts in 1850. Sleigh races were certainly popular in 19th Century Massachusetts. To this day, a commemorative placard appears in Medford square claiming that it is the birthplace of Jingle Bells. Others suggest that he wrote it in Savannah, Georgia where he was an organist and music director at the Unitarian Church. This theory gains support from the copyright date of 1857. We know he was living in Savannah by then. Traffic Signals Horse-drawn sleighs are relatively quiet in the snow. Consequently, horses were usually equipped with bell-laden straps so as to avoid accidents at blind intersections. Sleigh drivers in 19th Century New England were constantly vigilant, listening for the sounds of approaching horse-drawn sleighs. The tune imitates the rhythm that the trotting horse bells produce. Social Context Jingle Bells was sung as a drinking song at local revelries: during the song folks would rhythmically jangle the ice in their glasses. A sleigh ride gave couples an opportunity to be alone together. The term Jingle bells is a poetic descriptive adjective referring specifically to the more accurate term sleigh bells. In many arrangements, sleigh bells are used to accentuate the rhythm during the song chorus. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
Jingle Bells for Tuba & Piano
Jingle Bells for Tuba & Piano
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Tuba et Orgue
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DÉBUTANT
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Noël
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James Pierpont
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James M
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piano. Easy &
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Jingle Bells for Tuba & Pi
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jmsgu3
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SheetMusicPlus
Piano,Tuba - Level 1 - SKU: A0.548661 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 8 pages. Jmsgu3 #34085...
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Piano,Tuba - Level 1 - SKU: A0.548661 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 8 pages. Jmsgu3 #3408523. Published by jmsgu3 (A0.548661). Jingle Bells arranged for tuba & piano. Easy & popular. Jingle Bells is perhaps the most famous songs in American music history. James L. Pierpont published the song as One Horse Open Sleigh in the late 1850’s. Since its introduction, people began to insist that Pierpont wrote it for a Sunday school choir. However, it seems unlikely that such a secular song would be considered appropriate during that historical period for Sunday school.Christmas Repertoire Pierpont wrote the song for the Thanksgiving holidays, but over time people began to think of it more as a Christmas song. Some choirs adopted it as part of their Christmas repertoire in the 1860s and 1870s. Jingle Bells was first recorded in 1889 on a wax cylinder. Origins No one knows where Pierpont composed the song. One theory suggests he wrote it in Medford Massachusetts in 1850. Sleigh races were certainly popular in 19th Century Massachusetts. To this day, a commemorative placard appears in Medford square claiming that it is the birthplace of Jingle Bells. Others suggest that he wrote it in Savannah, Georgia where he was an organist and music director at the Unitarian Church. This theory gains support from the copyright date of 1857. We know he was living in Savannah by then. Traffic Signals Horse-drawn sleighs are relatively quiet in the snow. Consequently, horses were usually equipped with bell-laden straps so as to avoid accidents at blind intersections. Sleigh drivers in 19th Century New England were constantly vigilant, listening for the sounds of approaching horse-drawn sleighs. The tune imitates the rhythm that the trotting horse bells produce. Social Context Jingle Bells was sung as a drinking song at local revelries: during the song folks would rhythmically jangle the ice in their glasses. A sleigh ride gave couples an opportunity to be alone together. The term Jingle bells is a poetic descriptive adjective referring specifically to the more accurate term sleigh bells. In many arrangements, sleigh bells are used to accentuate the rhythm during the song chorus. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
Excerpt from the Lyric Suite
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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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
'Change of scene' from Act III of Wozzeck
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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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
Excerpt from Lulu Suite
Excerpt from Lulu Suite
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Guitare
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Contemporain
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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
A Stroll on Duke Street
A Stroll on Duke Street
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Cloches
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FACILE
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Christian contemporain
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Musique Sacrée
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John Hatton
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A Stroll on Duke Street
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Bronze:FX
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SheetMusicPlus
Handbell - Level 2 - SKU: A0.1307883 Composed by John Hatton. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Christian,Contemporary,Easter,Religious. Sc...
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Handbell - Level 2 - SKU: A0.1307883 Composed by John Hatton. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Christian,Contemporary,Easter,Religious. Score. 6 pages. Bronze:FX #897142. Published by Bronze:FX (A0.1307883). The title is derived from the tune name “Duke Street†and it depicts both the tempo and style of the arrangement. It is flowing and meditative, with colorful LV patterns and melody both in the bass and treble.The arrangement is for full bell choir using 3-6 octaves of handbells. Rated at a Level 2 when played with 11-12 ringers because of its slow tempo and easy rhythms, “A Stroll on ‘Duke Street’†can be interpreted very musically, with crescendos and spiritually high moments. Its three verses are each treated differently, with the last verse raises the key signature a half step and then yet another half step as it grows with intensity. Although based on a hymn tune, the title allows this arrangement to be used for any audience.For sacred environments, the arranger suggests that the text be studied for inspiration. There are several words set to the tune “Duke Street,†although the arranger favors the text that begins, “I know that my redeemer lives.†When performing the piece, use the first verse as a humble (and somewhat hesitant) prayer, the second verse more confident (by relying for God's promises), and the third verse as if obtaining divine reassurance. This would place the prayer-giver in a place of wonder – a spiritual mountain-top experience. Also, see the next paragraph's description, which could also be used for a spiritual experience with God the Creator.For secular environments, use the visual imagery of an early morning walk. You start out just before sunrise, when nature is quiet and there is still dew on the grass. As you continue your upward path, the sky begins to change colors and the birds to sing. Aiming for the viewpoint at the hilltop, tree shadows begin to form and the brush mirrors the orange and grey from the new sunrise about to appear. When the sun does rise, it seems to wash all the darkness away in a single instant, making this new day clean and perfect.Performance time:• 3 minutesPerformance notes are included.
$2.50
YOU ALONE ARE WORTHY
YOU ALONE ARE WORTHY
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Leviticus D
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YOU ALONE ARE WORTHY
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Leviticus D. Thomas, Songs of Levi
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1028747 Composed by Leviticus D. Thomass. Christian,Gospel,Praise & Worship,Sacred. Octavo. 12 pages. Leviticus ...
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Choral Choir (SATB) - Level 3 - SKU: A0.1028747 Composed by Leviticus D. Thomass. Christian,Gospel,Praise & Worship,Sacred. Octavo. 12 pages. Leviticus D. Thomas, Songs of Levi #4112375. Published by Leviticus D. Thomas, Songs of Levi (A0.1028747). Start the new year off just right by stretching your music ministry's vocals and overall musicianship by adding YOU ALONE ARE WORTHY to your repertoire in 2019. This song weaves in and out of easy-to-learn catchy unison lines and harmonic phrases just before shifting to a choral bridge with modulations. The anointed piece then transcends to a robust vamp that takes you higher vocally/worshipfully until it seems as if Heaven opens up with Ah--- as the song begins to climax. If you are looking for a new song that is balanced with simple melodies, yet challenging enough, but not overwhelming, then you are bound to enjoy teaching/learning/ministering YOU ALONE ARE WORTHY.Originally taught to Georgetown University Gospel Choir years ago after serving as the Director over the choir nearly 5 years, this song is suitable for high school, college, church, community, district, convention and even recording choirs, etc Even though it is composed for SATB, SAT is still effective. Close to 5:25 in duration this diverse piece is a so refreshing to sing/play no matter the size or skill set of the music ministry. Inspired by GOD, this song is Biblically based and penned from a willing vessel, a psalmist/gospel music singer-songwriter with over 37 years of church music ministry experience . Please stay tuned for more dynamic pieces (Songs of Levi) to be released by this ASCAP member in the near future. .    Social Media Channels and Contact Information: https://www.facebook.com/LeviticusThomas.JoyfulNoise/ leviticust@hotmail.com Leviticus.booking@gmail.com
$2.40
Cavatina
Cavatina
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Contemporain
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virtue of the key change and c
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Stanley Myers
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Derek Hasted
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Cavatina
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Derek Hasted
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SheetMusicPlus
Instrumental Duet Clarinet,Guitar,Instrumental Duet - Level 3 - SKU: A0.797847 Composed by Stanley Myers. Arranged by Derek Hasted. Contemporary. Score ...
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Instrumental Duet Clarinet,Guitar,Instrumental Duet - Level 3 - SKU: A0.797847 Composed by Stanley Myers. Arranged by Derek Hasted. Contemporary. Score and parts. 9 pages. Derek Hasted #6673767. Published by Derek Hasted (A0.797847). CAVATINA for Bb CLARINET and GUITARFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes The beautifully melodic Cavatina was made famous by John Williams, who arranged the piece for solo guitar and produced some effortless recordings of it. Audiences equate effortless with easy, but it can be a bit of a beast to play well.Why this arrangement?I’ve lowered the key by a semitone which makes many of the chords sound more mellow.I’ve fixed the ungainly jumps in the bass line which came as a constraint of playing up the neck on solo guitar.I’ve improved the connectivity of the middle voices from chord to chord so the chord changes sound more effortless and natural.By virtue of the key change and careful use of enharmonic equivalents, the guitar part is now on familiar ground.A side effect is that everything is easier and the sustain seems more effortless.The Guitar is Capo 1, so that the clarinet and guitar are both in comfortable keys.I also have versions for two guitars - to find them easily, visit my website (below) and look for my list of guitar duets.I hope you enjoy playing this piece!
$4.99
Cavatina
Cavatina
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2 Guitares (duo)
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INTERMÉDIAIRE
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Contemporain
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Stanley Myers
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Derek Hasted
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Cavatina
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Derek Hasted
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet - Level 3 - SKU: A0.797845 Composed by Stanley Myers. Arranged by Derek Hasted. Contemporary. Score and parts...
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - SKU: A0.797845 Composed by Stanley Myers. Arranged by Derek Hasted. Contemporary. Score and parts. 11 pages. Derek Hasted #6672533. Published by Derek Hasted (A0.797845). CAVATINA FOR 2 GUITARS... PERFORMANCE VERSIONFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes You’ll be tempted to say Oh, not another Cavatina arrangement, but read on...The beautifully melodic Cavatina was made famous by John Williams, who arranged the piece for solo guitar and produced some effortless recordings of it. Audiences equate effortless with easy, but it can be a bit of a beast to play well.Why this arrangement?I’ve lowered the key by one tone which makes many of the chords sound more mellow.I’ve fixed the ungainly jumps in the bass line which came as a constraint of playing up the neck on solo guitar.I’ve improved the connectivity of the middle voices from chord to chord so the chord changes sound more effortless and natural.A side effect is that everything is easier and the sustain seems more effortless.My duet arrangement comes in 2 formats... This one is a performance version (in which the workload is shared equally and there’s a truly effortless switching of parts in the middle), set in score only for two intermediate players.A separate one (for student and teacher) comprises a melody line and an arpeggio accompaniment, set in both score and score+tab. The student line is early intermediate, and the teacher's part is intermediate.To find the other version easily, visit my website (below) and look for my list of guitar duets.I hope you enjoy playing this piece!
$4.99
Willow Flute Song (Harp Duet or Trio)
Willow Flute Song (Harp Duet or Trio)
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2 Harpes (duo)
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FACILE
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Stephanie Bennett
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Stephanie Bennett
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Willow Flute Song
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Harpworld Music Co.
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SheetMusicPlus
Celtic Harp,Instrumental Duet - Level 2 - SKU: A0.1341976 By Stephanie Bennett. By Traditional Norwegian. Arranged by Stephanie Bennett. Christmas,Folk,...
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Celtic Harp,Instrumental Duet - Level 2 - SKU: A0.1341976 By Stephanie Bennett. By Traditional Norwegian. Arranged by Stephanie Bennett. Christmas,Folk,Multicultural,Traditional,World. 9 pages. Harpworld Music Co. #927489. Published by Harpworld Music Co. (A0.1341976). Suitable for lever harps or pedal harps. This song, being a traditional tune from Norway, makes me imagine a wintry scene. So it seems especially apt for December celebrations, which is when I usually play it.  But it’s perfectly appropriate any time of year!The sound is interesting to American ears due to the use of the Lydian mode. It’s based on F, but with B naturals (instead of B flats as in F Major)! There are no lever or pedal changes. The Harp I part (with the melody) is intermediate, and the Harp II part (the accompaniment) is super easy. It would be a fun song for a teacher and student to play together.  You can easily turn this duet into a trio by having Harp III take over the left-hand parts of Harp I.
$9.99
Oh Shenandoah
Oh Shenandoah
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Piano Facile
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DÉBUTANT
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Traditional Folk
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Brian Streckfus
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Oh Shenandoah
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Brian Streckfus
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SheetMusicPlus
C Instrument - Level 1 - SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,Singer/Songwrite...
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C Instrument - Level 1 - SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,Singer/Songwriter,Standards. Lead Sheet / Fake Book. 2 pages. Brian Streckfus #793751. Published by Brian Streckfus (A0.1194379). Pages: 2Key: G Major1. Guitar Tab added with rhythms2. Guitar  Chord diagrams added. 3. Chord nomenclature added. 4. Chords re-harmonized to be idiomatic for guitar, more unique, take part writing into consideration. 5. Left hand guitar fingerings added. 6. Letter names added to note heads.7. Blues grace note added in measure 17. This measure is a good example of how to squeeze in a quick blues note.I like these versions because you can choose between playing the main melody, playing the chords, or trying both simultaneously. If you can eventually playing both simultanously, it can quickly become sophisticated sounding!This version is also nice in that if you strum the more detail-oriented guitar chords, you end up usually playing the melody anyways, which makes this more ideal for strumming with a pick and for practicing vocals.Tips:1. The F# diminshed chord in measure 18 was originally a D7 chord. This seems like a good substitute to make because they contain roughly the same notes but the diminished chord is more original sounding and has better part writing. There is something about D7 chord that I am always swapping out of them when the melody is low. Same concept for the D/F# chord in measure 11. Instead of a famous D chord, the D/F# accents the main melody better, and is more unique sounding.2. It's easy to make mistakes with ties, especially because they also look like slurs. Ties add the to rhythm values together and you don't play the second note, so I normally cross them out with a pencil as they are really only showing sustain.
$2.99
Lord, Heal Our Land for SATB Voices (reproducible)
Lord, Heal Our Land for SATB Voices (reproducible)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Lyrics, Music Sheila Gagen, an
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Teresa OConnell (BMI)
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Lord, Heal Our Land for SATB V
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Teresa O'Connell
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1030993 Composed by Lyrics, Music Sheila Gagen, and Teresa OConnell (BMI). Arranged by Teresa OConnell (BMI). Ch...
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Choral Choir (SATB) - Level 3 - SKU: A0.1030993 Composed by Lyrics, Music Sheila Gagen, and Teresa OConnell (BMI). Arranged by Teresa OConnell (BMI). Christian,Sacred. Octavo. 16 pages. Teresa O'Connell #5774049. Published by Teresa O'Connell (A0.1030993). Lord, Heal Our Land was inspired by today's worldwide struggles and offers hope. Let today be a day of healing. when so much of it seems torn. Let nothing stand between us no matter the burdens worn. All the good we were sharing before is still where we stand. Let the Comforter come near to us and Lord, heal our land. With thoughtful lyrics by Sheila Gagen and music by Teresa O'Connell (BMI), this S(S)A arrangement will help your women's ensemble shine, while singing the lush harmonies and beautiful lyrics. Lord, Heal our Land is easy to learn and fun to sing.He has shown you, O mortal, what is good. And what does the Lord require of you? To act justly and to love mercy and to walk humbly with your God. Micah 6:8-NIVCost: $40.00 Digital Sheet Music (make as many copies as needed for your choir).Vocal Range: Soprano I-D4 to F5. Soprano II-D4 to D5. Alto-D4 to Bb4. Tenor G3-E4. Bass D3-B3
$40.00
Maienzauber (Recorder Quartet)
Maienzauber (Recorder Quartet)
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Quatuor de Flûtes à bec
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Classique
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Adolf Jackel
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Paul Kajzar
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Maienzauber
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Paul Kajzar, Gyllcott Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - SKU: A0.1343612 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott ...
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Woodwind Ensemble,Woodwind Quartet - SKU: A0.1343612 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott Music #929136. Published by Paul Kajzar, Gyllcott Music (A0.1343612). An arrangement for recorder quartet (2 trebles, tenor, bass) of Maienzauber (translates as “May Magicâ€), originally composed for four horns. Biographical details regarding Adolf Jackel are very limited, but it seems likely that he was active as a composer during the second half of the 19th century and into the early part of the 20th. This is a short movement with an almost hymn-like quality in places, and might be helpful to players who want to concentrate on intonation and ensemble or just want something straightforward to warm up on. The set comprises full score and parts. Difficulty level : Easy/Intermediate.
$1.99
Maienzauber (Four Basset Horns)
Maienzauber (Four Basset Horns)
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Flûte, Hautbois, Clarinette, Basson
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Classique
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Adolf Jackel
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Paul Kajzar
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Maienzauber
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Paul Kajzar, Gyllcott Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - SKU: A0.1353179 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 9 pages. Paul Kajzar, Gyllcott ...
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Woodwind Ensemble,Woodwind Quartet - SKU: A0.1353179 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 9 pages. Paul Kajzar, Gyllcott Music #937978. Published by Paul Kajzar, Gyllcott Music (A0.1353179). An arrangement for four basset horns of Maienzauber (translates as “May Magicâ€), originally composed for four french horns. Biographical details regarding Adolf Jackel are very limited, but it seems likely that he was active as a composer during the second half of the 19th century and into the early part of the 20th. This is a short movement which has an almost hymn-like quality in places. The set comprises full score and parts including alternative parts for basset horns 3 and 4, these being Bb clarinet and Eb alto clarinet respectively. Difficulty level : Easy/Intermediate.
$2.99
Vergangen (Brass Quartet)
Vergangen (Brass Quartet)
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Classique
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Adolf Jackel
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Paul Kajzar
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Vergangen
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Paul Kajzar, Gyllcott Music
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SheetMusicPlus
Brass Quartet - SKU: A0.1360548 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 9 pages. Paul Kajzar, Gyllcott Music #945052. Publis...
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Brass Quartet - SKU: A0.1360548 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 9 pages. Paul Kajzar, Gyllcott Music #945052. Published by Paul Kajzar, Gyllcott Music (A0.1360548). An arrangement for brass quartet (2 trumpets in Bb, horn, trombone) of Vergangen (translates as “Pastâ€), originally composed for an ensemble of four horns and trombone. Biographical details regarding Adolf Jackel are very limited, but it seems likely that he was active as a composer during the second half of the 19th century and into the early part of the 20th. This is a short, somewhat reflective movement. If being performed, the piece could be repeated using different dynamics on the second time through. The set comprises full score and parts, including F and Eb horn and bass and treble clef trombone. Difficulty level : Easy/Intermediate.
$2.99
Maienzauber (Saxophone Quartet)
Maienzauber (Saxophone Quartet)
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Quatuor de Saxophones: 4 saxophones
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Classique
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Adolf Jackel
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Paul Kajzar
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Maienzauber
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Paul Kajzar, Gyllcott Music
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble - SKU: A0.1340134 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott...
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Saxophone Quartet,Woodwind Ensemble - SKU: A0.1340134 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott Music #925801. Published by Paul Kajzar, Gyllcott Music (A0.1340134). An arrangement for saxophone quartet (2 altos, tenor, baritone) of Maienzauber (translates as “May Magicâ€), originally composed for four horns. Biographical details regarding Adolf Jackel are very limited, but it seems likely that he was active as a composer during the second half of the 19th century and into the early part of the 20th. This is a short movement with an almost hymn-like quality in places, and might be helpful to players who want to concentrate on intonation and ensemble. The set comprises full score and parts. Difficulty level : Easy/Intermediate.
$1.99
Vergangen (Saxophone Quartet)
Vergangen (Saxophone Quartet)
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Quatuor de Saxophones: 4 saxophones
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Classique
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Adolf Jackel
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Paul Kajzar
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Vergangen
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Paul Kajzar, Gyllcott Music
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble - SKU: A0.1351073 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott...
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Saxophone Quartet,Woodwind Ensemble - SKU: A0.1351073 Composed by Adolf Jackel. Arranged by Paul Kajzar. Romantic Period. 7 pages. Paul Kajzar, Gyllcott Music #935905. Published by Paul Kajzar, Gyllcott Music (A0.1351073). An arrangement for saxophone quartet (2 altos, tenor, baritone) of Vergangen (translates as “Pastâ€), originally composed for an ensemble of four horns and trombone. Biographical details regarding Adolf Jackel are very limited, but it seems likely that he was active as a composer during the second half of the 19th century and into the early part of the 20th. This is a short, somewhat reflective movement. If being performed, the piece could be repeated using different dynamics on the second time through. The set comprises full score and parts. Difficulty level : Easy/Intermediate.
$1.99
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Easy As It Seems
