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He's Been So Good To Me
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Vous avez sélectionné:
He's Been So Good To Me
Partitions à imprimer
37 partitions trouvées
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He's Been So Good To Me
He's Been So Good To Me
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Piano, Voix et Guitare
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DÉBUTANT
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Doug Little
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He's Been So Good To Me
#
Robert D Little
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.502670 By Doug Little. By Doug Little. Sacred,Spiritual,Traditional. Score. 2 pages. Robert D Little #11502...
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Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.502670 By Doug Little. By Doug Little. Sacred,Spiritual,Traditional. Score. 2 pages. Robert D Little #115021. Published by Robert D Little (A0.502670). This is a new hymn in hymnal format. Traditional hymn, suitable for congregational singing, solo, or choir. Theme is thanksgiving for the Lord's goodness throughout life.
$3.00 ≈
2.77€
He's Been So Good To Me
He's Been So Good To Me
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Chorale SATB
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DÉBUTANT
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Musique Sacrée
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Doug Little
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Doug Little
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He's Been So Good To Me
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Robert D Little
#
SheetMusicPlus
Choral Choir (SATB) - Level 1 - SKU: A0.502686 Composed by Doug Little. Arranged by Doug Little. Praise & Worship,Sacred,Traditional. Octavo. 5 pages. R...
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Choral Choir (SATB) - Level 1 - SKU: A0.502686 Composed by Doug Little. Arranged by Doug Little. Praise & Worship,Sacred,Traditional. Octavo. 5 pages. Robert D Little #115041. Published by Robert D Little (A0.502686). Choral octavo for SATB ensemble or choir. Easy level of vocal ranges, lines, and harmonies. Piano accompaniment easy to intermediate level. Suitable for church choirs of any size, regardless of worship style.
$1.99 ≈
1.84€
Bock's Best - Volume 1
Bock's Best - Volume 1
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Piano seul
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Fred Bock
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Bock's Best - Volume 1
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Fred Bock Music Company
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SheetMusicPlus
Piano - SMP Level 7 (Late Intermediate) SKU: HL.8738352 Piano Solo. Composed by Fred Bock. Piano Solos. Fred Bock Publications. General Worship, S...
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Piano - SMP Level 7 (Late Intermediate) SKU: HL.8738352 Piano Solo. Composed by Fred Bock. Piano Solos. Fred Bock Publications. General Worship, Sacred. 152 pages. Fred Bock Music Company #BG0557. Published by Fred Bock Music Company (HL.8738352). ISBN 9781934596159. UPC: 073999726527. 9.0x12.0x0.374 inches.This tremendous piano collection features 50 of Fred Bock's very best arrangements, including: I Am Loved * Jesus Loves Me (a classic arrangements based on Claude Debussy's Clair De Lune) * A Mighty Fortress Is Our God * My Tribute * Sweet, Sweet Spirit * and more. Spiral bound.This title has selections that range in difficulty from SMP Level 6-7. About SMP Level 7 (Late Intermediate) 4 to 5-note chords in both hands and scales in octaves in both hands.
Song List
: All for Jesus (Stainer-Crucifixion) He Lifted Me Great Is Thy Faithfulness Now I Belong To Jesus We Are One In The Bond Of Love Safe Am I Surely Goodness And Mercy The Bell Carol He Is The Way I Believe In Miracles I'll Tell The World One Solitary Life Open Up Your Heart And Let The Sun Shine In Tell All The World About Love To Be Free There Is A Balm In Gilead Because He Lives Christ Of Every Crisis God Gave The Song He's Everything To Me Ivory Palaces A Mighty Fortress Is Our God Precious Lord, Take My Hand (Take My Hand, Precious Lord) Teach Me, Lord, To Wait Jesus Loves Me In Times Like These My Faith Looks Up To Thee Ten Thousand Angels Sweet, Sweet Spirit My Tribute Thou Art Worthy Something Beautiful Room At The Cross For You There's Something About That Name Wondrous Love Revive Us Again Jesus Is Coming Again Even So, Lord Jesus, Come Mansion Over The Hilltop I Will Serve Thee Gentle Shepherd How Long Has It Been Redeeming Love I Just Feel Like Something Good Is About To Happen I Am Loved The Church Triumphant How Big Is God? Were You There? What A Friend We Have In Jesus Oh How He Loves You And Me
$29.95 ≈
27.64€
LILLY'S DANCE (THE TUMBLER)
LILLY'S DANCE (THE TUMBLER)
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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the vocalist/bassist I
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LILLY'S DANCE
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JoeCopio Music LLC
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876447 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876447 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 24 pages. JoeCopio Music LLC #53323. Published by JoeCopio Music LLC (A0.876447). LILLY’S DANCE (THE TUMBLER) Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio LILLY’S DANCE (THE TUMBLER) is a delightful Latin flavored dance that was inspired by Little Miss Lilly who could tumble on command all by her big self when she was only 15 months old. When I first saw her dance and tumble at such a young age, I was so moved that I wrote this piece to celebrate her ability to amaze everyone with her dancing and tumbling. LILLY’S DANCE (THE TUMBLER) was originally written and arranged for a small ensemble, band, stage band or combo with flexible instrumentation so that it may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of LILLY’S DANCE (THE TUMBLER) makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, LILLY’S DANCE (THE TUMBLER) has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece is composed in the same style of the other dances in the set - all of which have been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for LILLY’S DANCE (THE TUMBLER) includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Depart.
$4.99 ≈
4.61€
JOEY'S READY
JOEY'S READY
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Saxophone Tenor et Piano
#
INTERMÉDIAIRE/AVANCÉ
#
Joe Procopio
#
the vocalist/bassist I
#
JOEY'S READY
#
JoeCopio Music LLC
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876451 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876451 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 28 pages. JoeCopio Music LLC #53333. Published by JoeCopio Music LLC (A0.876451). JOEY’S READY Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio JOEY’S READY is a dance written and arranged by Joe Procopio for a small ensemble, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of JOEY’S READY makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, JOEY’S READY has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 2 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for JOEY’S READY includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
4.61€
PAPA'S FAMOUS DANCES PART 2
PAPA'S FAMOUS DANCES PART 2
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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the vocalist/bassist I
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PAPA'S FAMOUS DANCES PART 2
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876455 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876455 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 82 pages. JoeCopio Music LLC #53355. Published by JoeCopio Music LLC (A0.876455). PAPA’S FAMOUS DANCES - PART 2 Back to School 2015 From A Collection Of Six Dances As Combo Music EMMA’S BLUES JOEY’S READY WILSON’S BOOGIE WOOGIE PAPA’S FAMOUS DANCES PART 2 is a collection of 3 Dances as combo music composed and arranged by Joe Procopio for a small ensemble, band, stage band or combo with flexible instrumentation. These works may be performed with only two Saxes (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of the dances makes them unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, each dance has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. These works have been performed by College and High School students in many major concert events along the East Coast with great success. They are published separately and in sets PAPA’S FAMOUS DANCES Part 1 and PAPA’S FAMOUS DANCES Part 2 with each Part containing 3 Dances. I have adapted the audio here for synthesizer so that they may be previewed. The works are named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$9.99 ≈
9.22€
My Saxophone and Me (E flat version)
My Saxophone and Me (E flat version)
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Saxophone Alto et Piano
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DÉBUTANT
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Colin Kirkpatrick
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Lazy Days
(No 4)
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My Saxophone and Me
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Colin Kirkpatrick Publications
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publ...
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Alto Saxophone,Piano - Level 1 - SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3134129. Published by Colin Kirkpatrick Publications (A0.522194). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group. The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679821The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listen†button above) contains recordings of Nice ‘n Easy (No 2); Lazy Days (No 4); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has writte.
$5.95 ≈
5.49€
My Saxophone and Me (B flat version)
My Saxophone and Me (B flat version)
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Saxophone Tenor et Piano
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DÉBUTANT
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Colin Kirkpatrick
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Island Song
(No 3)
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My Saxophone and Me
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Colin Kirkpatrick Publications
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SheetMusicPlus
Piano,Tenor Saxophone - Level 1 - SKU: A0.522193 Composed by Colin Kirkpatrick. Contemporary,Instructional,Standards. Score and part. 28 pages. Colin Ki...
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Piano,Tenor Saxophone - Level 1 - SKU: A0.522193 Composed by Colin Kirkpatrick. Contemporary,Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3133717. Published by Colin Kirkpatrick Publications (A0.522193). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group. The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679835 The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listen†button above) contains recordings of Starting Tune (No 1); Island Song (No 3); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at London’s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has written.
$5.95 ≈
5.49€
My Flute and Me
My Flute and Me
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Flûte traversière et Piano
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DÉBUTANT
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Colin Kirkpatrick
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My Flute and Me
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Colin Kirkpatrick Publications
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SheetMusicPlus
Flute,Piano - Level 1 - SKU: A0.522191 Composed by Colin Kirkpatrick. Contemporary,Instructional. Score and part. 28 pages. Colin Kirkpatrick Publicatio...
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Flute,Piano - Level 1 - SKU: A0.522191 Composed by Colin Kirkpatrick. Contemporary,Instructional. Score and part. 28 pages. Colin Kirkpatrick Publications #3130519. Published by Colin Kirkpatrick Publications (A0.522191). My Flute and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for many beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! The music is identical to that in the companion book My Recorder and Me. Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary.An MP3 file containing all the play-along piano accompaniments is available as a separate item here: https://www.sheetmusicplus.com/title/20679840 The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because it’s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the “Listen†button above) contains recordings of Starting Tune (No 1); Nice ‘n Easy (No 2); Waltzing Around (No 7) and Donkey Trot (No 12). The composer, Colin Kirkpatrick studied at London’s Royal College of Music. After graduation, he followed a career in music education and composed music as an active sideline. His publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has written articles for magazines in both the UK and the USA and holds MA (Hons) and PhD degrees.
$5.95 ≈
5.49€
His Memory
His Memory
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Robert Daniel
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His Memory
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RDMusicStudios
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published...
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Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!
$24.00 ≈
22.15€
9.28.85
9.28.85
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Trombone
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AVANCÉ
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published ...
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Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99 ≈
7.37€
Jacques Leguerney: String Quartet in D for two violins, viola and cello
Jacques Leguerney: String Quartet in D for two violins, viola and cello
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Contemporain
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quar
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95 ≈
35.95€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.46€
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
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Musique Sacrée
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Various
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Colin Kirkpatrick
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worshi...
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Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). We’re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, there’s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusader’s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monk’s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwall’s 148th); Soldiers of Christ, Arise (Diademata); The Lord’s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.
$15.99 ≈
14.76€
The Promise PVG
The Promise PVG
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Piano, Voix
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INTERMÉDIAIRE
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going on a mission I was put i
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Steven H
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Ashley Ivers
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The Promise PVG
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Boothe Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.984012 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Score. 9 pages. Boothe Publis...
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Piano,Vocal,Voice - Level 3 - SKU: A0.984012 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Score. 9 pages. Boothe Publishing #4360949. Published by Boothe Publishing (A0.984012). Just one person doing what he knows is right will set off a chain reaction for the good that will go on and on. Before I arrived at mission age I had to make a lot of decisions about whether or not I wanted to go on a mission. There were so many voices calling out to me. The voices promised me scholarships and fame. The voices questioned my logic. The voices tried to make me doubt my motives and character. The voices ridiculed me and my desires to do good. The voices told me that they loved me, but wouldn't wait for me if I went on a mission. All of those voices were demeaning of me if I went on a mission. They also promised me joy, but only if I decided not to go on a mission. I ultimately decided to go on a mission. By going on a mission I was put in a situation where I could testify of God's gospel truths. Those people hearing the truths had the opportunity to pray to God to find out for themselves if what they had been taught was true. Those people that talked to God in prayer joined the church. Why? Because God answered their prayers. Some of those new members went on missions to other lands converting through the spirit of the Holy Ghost others, who in turn went on missions to other lands. The cycle continues. Just one person doing what he knows is right can set off a chain reaction for the good that will go on and on.
$3.99 ≈
3.68€
The Promise Piano Minus Vocal
The Promise Piano Minus Vocal
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Piano seul
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going on a mission I was put i
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Steven H
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Ashley Ivers
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The Promise Piano Minus Vocal
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Boothe Publishing
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SheetMusicPlus
Piano - SKU: A0.1069993 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Accompaniment. Duration 255. Boothe Publishing #47...
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Piano - SKU: A0.1069993 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Accompaniment. Duration 255. Boothe Publishing #4737123. Published by Boothe Publishing (A0.1069993). Just one person doing what he knows is right will set off a chain reaction for the good that will go on and on. Before I arrived at mission age I had to make a lot of decisions about whether or not I wanted to go on a mission. There were so many voices calling out to me. The voices promised me scholarships and fame. The voices questioned my logic. The voices tried to make me doubt my motives and character. The voices ridiculed me and my desires to do good. The voices told me that they loved me, but wouldn't wait for me if I went on a mission. All of those voices were demeaning of me if I went on a mission. They also promised me joy, but only if I decided not to go on a mission. I ultimately decided to go on a mission. By going on a mission I was put in a situation where I could testify of God's gospel truths. Those people hearing the truths had the opportunity to pray to God to find out for themselves if what they had been taught was true. Those people that talked to God in prayer joined the church. Why? Because God answered their prayers. Some of those new members went on missions to other lands converting through the spirit of the Holy Ghost others, who in turn went on missions to other lands. The cycle continues. Just one person doing what he knows is right can set off a chain reaction for the good that will go on and on.
$1.99 ≈
1.84€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.46€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.46€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.46€
MY SWEET LYDIA
MY SWEET LYDIA
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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MY SWEET LYDIA
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876449 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876449 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 33 pages. JoeCopio Music LLC #53329. Published by JoeCopio Music LLC (A0.876449). MY SWEET LYDIA Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MY SWEET LYDIA is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MY SWEET LYDIA makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MY SWEET LYDIA has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MY SWEET LYDIA includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
4.61€
MARY ~ ELAINE
MARY ~ ELAINE
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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MARY ~ ELAINE
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JoeCopio Music LLC
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876448 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876448 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 23 pages. JoeCopio Music LLC #53327. Published by JoeCopio Music LLC (A0.876448). MARY ~ ELAINE Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio MARY ~ ELAINE is a dance written and arranged by Joe Procopio for a small ensemble, band, stage band or combo. It was originally composed for a small band with flexible instrumentation. It may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of MARY ~ ELAINE makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, MARY ~ ELAINE has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece has been performed by College and High School students in many major concert events all along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for MARY ~ ELAINE includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$4.99 ≈
4.61€
The Great Healer (lead sheet)
The Great Healer (lead sheet)
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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David Kai
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Chorus:
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The Great Healer
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David Kai
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.893858 Composed by David Kai. Christian,Gospel,Pop. Score. 4 pages. David Kai #5986435. Published by David ...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.893858 Composed by David Kai. Christian,Gospel,Pop. Score. 4 pages. David Kai #5986435. Published by David Kai (A0.893858). This song was written when heart transplants were fairly new and still in the news. The song depicts the healing ministry of Jesus brought into modern times. Since people like to put music into categories, the style could be roughly described as being country/bluegrass/synth-driven/gospel pop, which might make it pretty unique! The song was first recorded by the Christian rock group, Whitestone and later by the Sellwoods gospel group. Both versions can be found on Youtube.The Great Healer words and music by David Kai ©1980 I’ve had a heart transplant with a bit of a difference, it may seem rather odd No scalpel, no surgeon, no anesthetic, just between me and God And now a new life beats inside of me, it’s more than mere words can describe My heart keeps time to the rhythm of the Spirit inside Well I went fishing for the truth to life, but I opened up a can of worms False religions and philosophies, misleading me at every turn Well I soon realized that knowledge is fine, but it’s really just a place to start ‘Cause you can change your mind but it’s God that has to change your heart Chorus: Yes, he’s the great healer, in a world of pain and strife, he’s the great healer, and he can mend a broken life And though your hurts be too much to bear, he can heal your wounds with loving care And give you a new life that will never die So if you feel that you’ve lost all your reason to live, good and bad look the same And you’re walking around more dead than alive, life clotting up in your veins Just end your confusion, accept a transfusion of love from the heavenly Lord And to your surprise you’ll find that you have been restored Chorus: I’ve had a heart transplant with a bit of a difference...
$2.00 ≈
1.85€
The Great Healer
The Great Healer
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David Kai
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David Kai
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The Great Healer
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David Kai
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SheetMusicPlus
Drum Set,Electric Bass Guitar,Electric Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105120 By David Kai. By David Kai. Arranged by David ...
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Drum Set,Electric Bass Guitar,Electric Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105120 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Folk,Rock. Full Performance. Duration 215. David Kai #708367. Published by David Kai (A0.1105120). This fun song was written when heart transplants were fairly new and still in the news. The song depicts the healing ministry of Jesus brought into modern times. Since people like to put music into categories, the style could be roughly described as being country/bluegrass/synth-driven/gospel pop, which might make it pretty unique! The song was first recorded by the Christian rock group, Whitestone. The Great Healer words and music by David Kai ©1980 I’ve had a heart transplant with a bit of a difference, it may seem rather odd No scalpel, no surgeon, no anesthetic, just between me and God And now a new life beats inside of me, it’s more than mere words can describe My heart keeps time to the rhythm of the Spirit inside Well I went fishing for the truth to life, but I opened up a can of worms False religions and philosophies, misleading me at every turn Well I soon realized that knowledge is fine, but it’s really just a place to start ‘Cause you can change your mind but it’s God that has to change your heart Chorus: Yes, he’s the great healer, in a world of pain and strife He’s the great healer, and he can mend a broken life And though your hurts be too much to bear He can heal your wounds with his loving care And give you a new life that will never die So if you feel that you’ve lost all your reason to live Good and bad look the same And you’re walking around more dead than alive Life clotting up in your veins Just end your confusion, accept a transfusion of love from the heavenly Lord And to your surprise you’ll find that you have been restored Chorus:.
$1.99 ≈
1.84€
Nevermore
Nevermore
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Saxophone
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INTERMÉDIAIRE/AVANCÉ
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Craig Wadley
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Nevermore
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Wadley Publications
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SheetMusicPlus
Instrumental Solo,Saxophone - Level 4 - SKU: A0.983172 Composed by Craig Wadley. 21st Century,Contemporary,Contest,Festival,Halloween. Individual part. ...
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Instrumental Solo,Saxophone - Level 4 - SKU: A0.983172 Composed by Craig Wadley. 21st Century,Contemporary,Contest,Festival,Halloween. Individual part. 18 pages. Wadley Publications #4638491. Published by Wadley Publications (A0.983172). Nevermore for Unaccompanied Saxophone by Craig Wadley. As this is an unaccompanied piece, ANY saxophone is acceptable. While most soloists will undoubtedly opt to use alto or soprano, the composer welcomes renditions of this piece on any of the larger saxes as well. This piece was inspired by Nevermore: An Evening With Edgar Allen Poe, a single act play featuring Jeffrey Combs. My good friend, Dr. Brent Bristow of Arkansas State University, Beebe, convinced me to go see the play when it was presented there in March of 2018. That performance by the legendary Mr. Combs inspired this piece. Why unaccompanied saxophone? Brent Bristow and I have been close friends since high school, and since he is the one who convinced me to see this show, and given that he plays classical saxophone (yes, that IS a thing!), I figured saxophone would kill two birds with one reed… or something like that. The show itself is a one-man performance, so that’s why this piece is unaccompanied. I toyed with the notion of including some text from the show. Eventually, I decided to go with The Raven, which is featured prominently in Combs’ monologue. But I didn’t want to RELY on The Raven, so I wrote the piece in such a way that it can be performed with OR without the narrator. I took a bit of inspiration from Bach’s cello music and brought in some more modern elements such as shifting meters and limited use of slap-tongue and multiphonics to keep things interesting. No altissimo is used.This work would make for excellent solo repertoire at the collegiate level, while still being potentially accessible to advanced high school players. If the narrator is used, this work would also be great as part of a Halloween/horror variety show!You may note that the mp3 demo preview uses a cello sound (placing the transposition in the range of the baritone sax, though again, any saxophone is acceptable). A cello sound is used because samples of saxophone sounds generally leave much to be desired, and they are most commonly based on jazz tone qualities which would be completely inappropriate for this piece.
$17.99 ≈
16.60€
Selected Pieces Vol. 1
Selected Pieces Vol. 1
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Ernest Tomlinson
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Selected Pieces Vol. 1
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Forton Music - Digital
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SheetMusicPlus
Fl. Pft. - Intermediate-Advanced - SKU: F2.FM493 Composed by Ernest Tomlinson. Flute and Piano. Score and part. 33 pages. Forton Music - Digital #FM493....
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Fl. Pft. - Intermediate-Advanced - SKU: F2.FM493 Composed by Ernest Tomlinson. Flute and Piano. Score and part. 33 pages. Forton Music - Digital #FM493. Published by Forton Music - Digital (F2.FM493). ISBN 9790570483921.All four of these pieces were arranged for concert flute and piano at the request of his daughter Hilary, who is a flautist. Pourquoi Pas? - This piece started life as a violin and piano piece written whilst Tomlinson was on active service in northern France during the Second World War serving as a wireless mechanic in the RAF. His commanding office was a good violinist and had found a local French family who had a grand piano. Hearing that Ernest was studying composition he was challenged to write a piece to entertain the French family. The piece was named after a local cafe much frequented by the troops. Chadkirk Idyll - Written in 2002, this was originally for recorder and guitar and then rescored in 2003 for recorder and string quartet. Naturally, it works very well for flute and piano so this arrangement was made at about the same time. Ernest wrote On receiving the request to write this piece, the description of Chadkirk and it's history conjured up for me an imaginary picture back in history. The mental image of a small and lonely chapel in the river valley at the base of a windswept hillside inspired the melodies around which the Idyll was shaped. Air - This piece started life as a cello and piano piece and has also been arranged for violin and piano. Linda's Dance - During the late 1950's and all through the 1960's Tomlinson wrote much orchestral music intended for use as background music in radio, films and tv. The piece was part of a suite that was eventually published as his first Light Music Suite. He always found titles a difficulty but his youngest daughter, Linda, was very fond of dancing so he simply called this movement Linda's Dance. The original orchestration was for alto flute but the composer was prevailed upon to make this concert flute and piano arrangement.
$12.95 ≈
11.95€
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He's Been So Good To Me
