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Vous avez sélectionné:
Wrong Note Media, Inc.
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5 partitions trouvées
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1
Dear Tomorrow
Dear Tomorrow
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Euphonium, Piano (duo)
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AVANCÉ
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Todd Goodman
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Dear Tomorrow
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Wrong Note Media, Inc.
#
SheetMusicPlus
Euphonium,Piano - Level 5 - SKU: A0.1375164 Composed by Todd Goodman. 21st Century,Chamber,Contemporary,Contest,Festival. Score and part. 44 pages. Wron...
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Euphonium,Piano - Level 5 - SKU: A0.1375164 Composed by Todd Goodman. 21st Century,Chamber,Contemporary,Contest,Festival. Score and part. 44 pages. Wrong Note Media, Inc. #959776. Published by Wrong Note Media, Inc. (A0.1375164). Dear Tomorrow is an advanced recital piece for euphonium and piano that combines the beauty of intriguing rhythms with soaring and singable melodies. Written for German euphonium virtuoso Klemens Vetter in 2021, this work is a musical reflection on the global health event that rocked the world in 2020—shutting down musical performances around the globe overnight. Coupled with this shutdown came depression, anxiety, and despair for many. Composer Todd Goodman wrote this piece as a letter to his future self—sending comfort, love, and hope that everything will turn out ok.For physical copies of this piece and more information about composer Todd Goodman, please visit WrongNoteMedia.com.
$30.00
Flute Quartet in F major, Op.7 No.1 (Weinmann Vb: F1)
Flute Quartet in F major, Op.7 No.1 (Weinmann Vb: F1)
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Classique
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Johann Baptist Wanhal
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Uwe Grodd
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Flute Quartet in F major, Op.7
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Artaria Editions
#
SheetMusicPlus
Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #10...
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Cello,Flute,Viola,Violin - Level 3 - SKU: A0.1488235 Composed by Johann Baptist Wanhal. Arranged by Uwe Grodd. Classical. 52 pages. Artaria Editions #1065122. Published by Artaria Editions (A0.1488235). Artaria Editions AE379 The flute writing in Wanhal's quartets is a good deal less virtuosic than the solo writing found in Hofmann's quartets. The principal reason for this lies in the greater equality of part-writing and in this respect Wanhal's quartets are more modern and technically advanced than those of Hofmann. One prime example of this can be seen in Wanhal's adoption of the modern alla breve notation in first movements in preference to the fussy eight-in-a-bar favoured by Hofmann and others. There is also a greater emphasis on the development of thematic material although not to the same extent or intensity that one encounters in the composer's symphonies. In keeping with the conventional practice of the period the flute quartets were conceived to be played with a variety of possible instruments on the top part. The London publisher Welcker, for example, issued the Op. 7 set with the title page Six Quartettes for a / Hautboy or German Flute whereas Sieber styled them Six Quartetto Concertante / Pour une Flute au Hautbois. Copies of several works from the set are preserved in manuscript as string quartets and at least one work as a clarinet quartet. There is good reason to believe that the six flute quartets under consideration were conceived as a set and probably intended for immediate publication. They first appeared under Huberty's imprint in 1771 (as Op.8) and may have been composed reasonably close to the publication date. Whether Wanhal sent the works direct to Huberty is uncertain. It is very interesting to note, however, that Sieber issued the same works in a new edition the following year - it was announced on 28 January 1772 - and this seems to have been the basis for the later (undated) Welcker edition published in London and many of the extant manuscript copies.In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Sieber print. A number of variants have been adopted from other sources, notably the Welcker edition, on the rare occasions where they appear more convincing than Sieber's text. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; text underlay, where confused in the source, has been corrected; editorial emendations with no authority from the source are placed within brackets. Paul Bryan, Uwe Grodd
$53.00
Piano Trio in C minor, Op. 143
Piano Trio in C minor, Op. 143
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Dianne James
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Piano Trio in C minor, Op. 143
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Artaria Editions
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
$37.00
Ain't No Mountain High Enough
Ain't No Mountain High Enough
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Marvin Gaye & Tammi Terrell
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Sarah Cellobat Chaffee
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Ain't No Mountain High Enough
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Trio Cello,Violin - Level 4 - SKU: A0.526349 By Marvin Gaye & Tammi Terrell. By Nickolas Ashford and Valerie Simpson. Arranged by Sarah Cellobat ...
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String Trio Cello,Violin - Level 4 - SKU: A0.526349 By Marvin Gaye & Tammi Terrell. By Nickolas Ashford and Valerie Simpson. Arranged by Sarah Cellobat Chaffee. Pop,Standards,Wedding. 13 pages. Sarah Cellobat Chaffee #6534547. Published by Sarah Cellobat Chaffee (A0.526349). *INSTRUMENTATION: 2 VIOLINS & CELLO*Originally written in 1966 by Nickolas Ashford and Valerie Simpson for the Motown record label Tamla, Ain't No Mountain High Enough was recorded the following year by the power duo of Marvin Gaye and Tammi Terrell and it became an immediate success. This song is still just as iconic today as it was then, and you really can't go wrong having it in your gig books! This Cellobat arrangement for your two-violin and cello trio features the upbeat groove, back-and-forth vocal verses, and powerful chorus harmonies of the original for a chart that will be just as much fun to play as it is to listen to. You're sure to get your audience singing along! Rated advanced-intermediate mainly for some syncopated rhythms throughout and some high notes in the first violin part (up to 4th position); this will be learnable for students and sightreadable for professionals. Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat
$14.99
Ain't No Mountain High Enough
Ain't No Mountain High Enough
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Quatuor à cordes: 2 violons, alto, violoncelle
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Rock
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Marvin Gaye & Tammi Terr
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Tammi Terrell
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Ain't No Mountain High Enough
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Sarah Cellobat Chaffee
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SheetMusicPlus
By Marvin Gaye & Tammi Terrell. By Nickolas Ashford and Valerie Simpson. Arranged by Sarah Cellobat Chaffee. Pop, Rock, Standards, Wedding. Score ...
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By Marvin Gaye & Tammi Terrell. By Nickolas Ashford and Valerie Simpson. Arranged by Sarah Cellobat Chaffee. Pop, Rock, Standards, Wedding. Score and parts. 18 pages. Sarah Cellobat Chaffee #6598521. Published by Sarah Cellobat Chaffee
Originally written in 1966 by Nickolas Ashford and Valerie Simpson for the Motown record label Tamla, "Ain't No Mountain High Enough" was recorded the following year by the power duo of Marvin Gaye and Tammi Terrell and it became an immediate success. This song is still just as iconic today as it was then, and you really can't go wrong having it in your gig books! This Cellobat arrangement for string quartet features the upbeat groove, back-and-forth vocal verses, and powerful chorus harmonies of the original for a chart that will be just as much fun to play as it is to listen to. You're sure to get your audience singing along! Rated advanced-intermediate mainly for some syncopated rhythms throughout and some high notes in the first violin part (up to 4th position); this will be learnable for students and sightreadable for professionals.
Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater, and she regularly performs at Allegiant Stadium as a member of the house band for the Las Vegas Raiders football team. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a world-renowned 14-piece dance band, and she plays regularly for Premiere Wedding Music, Bella Electric Strings, and the Femmes Of Rock. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mtley Cre, Celine Dion, Michael Bubl, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at: http://www.cellobat.com http://www.instagram.com/cellobat http://www.youtube.com/c/SarahCellobatChaffee.
$16.99
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