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628 sheet music found Amazing Grace, Gospel Hymn for Bassoon and Piano
Amazing Grace, Gospel Hymn for Bassoon and Piano # Bassoon, Piano (duet) # EASY # Sacred music # John Newton # David McKeown # Worship # Amazing Grace, Gospel Hymn for # David McKeown # SheetMusicPlus
Piano Accompaniment, Bassoon
- Early Intermediate -
Digital Download
Composed by John Newton.
Arranged by David McKeown.
Christian, Gospel, Spiritual, ...(+)
Piano Accompaniment, Bassoon
- Early Intermediate -
Digital Download
Composed by John Newton.
Arranged by David McKeown.
Christian, Gospel, Spiritual,
Sacred, Praise & Worship.
Score, Solo Part. 3 pages.
Published by David McKeown Amazing Grace is a beautiful hymn arranged here for Solo Bassoon and Piano.
Amazing Grace is perhaps the best-known and best-loved hymn in the world. The writer, John Newton, led a dissolute life as sailor in the slave trade for many years before marriage, along with a close encounter with death at sea, dramatically changed his perspective. He lived out his later years as a devout and charismatic clergyman in the English countryside, renowned for his direct and personal style. The words he wrote in Amazing Grace are an intimate retelling of his spiritual journey.
The hymn was written in 1773, and was sung to many different melodies initially, but since the mid nineteenth century it has become most closely associated with the famous folk tune melody presented here, New Britain.
The standard is early intermediate. Players with a year or two’s experience will enjoy playing Amazing Grace. This gospel hymn is ideal for use in concerts or worship, formal or informal. The piano score and separate instrumental part are combined in one pdf file. Click on the link above to listen to a full YouTube performance of this gospel hymn on clarinet.
If you like Amazing Grace, then there are another 35 just like it in 18 Easy Gospel Hymns for Solo Bassoon and Piano, Volumes 1 and 2. Each volume costs just $8.49. To find them, copy and paste 18 Easy Gospel Hymns for Solo Bassoon and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.
To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.
There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david- mckeown/6203 Amazing Grace, Gospel Hymn for Flute and Piano
Amazing Grace, Gospel Hymn for Flute and Piano # Flute and Piano # EASY # Gospel/Spiritual # John Newton # David McKeown # Worship # Amazing Grace, Gospel Hymn for # David McKeown # SheetMusicPlus
Piano Accompaniment, Flute -
Early Intermediate - Digital
Download
Composed by John Newton.
Arranged by David McKeown.
Christian, Gospel, Spiritual,
...(+)
Piano Accompaniment, Flute -
Early Intermediate - Digital
Download
Composed by John Newton.
Arranged by David McKeown.
Christian, Gospel, Spiritual,
Sacred, Praise & Worship.
Score, Solo Part. 3 pages.
Published by David McKeown Amazing Grace is a beautiful hymn arranged here for Solo Flute and Piano.
Amazing Grace is perhaps the best-known and best-loved hymn in the world. The writer, John Newton, led a dissolute life as sailor in the slave trade for many years before marriage, along with a close encounter with death at sea, dramatically changed his perspective. He lived out his later years as a devout and charismatic clergyman in the English countryside, renowned for his direct and personal style. The words he wrote in Amazing Grace are an intimate retelling of his spiritual journey.
The hymn was written in 1773, and was sung to many different melodies initially, but since the mid nineteenth century it has become most closely associated with the famous folk tune melody presented here, New Britain.
The standard is early intermediate. Players with a year or two’s experience will enjoy playing Amazing Grace. This gospel hymn is ideal for use in concerts or worship, formal or informal. The piano score and separate instrumental part are combined in one pdf file. Click on the link above to listen to a full YouTube performance of this gospel hymn on clarinet.
If you like Amazing Grace, then there are another 35 just like it in 18 Easy Gospel Hymns for Solo Flute and Piano, Volumes 1 and 2. Each volume costs just $8.49. To find them, copy and paste 18 Easy Gospel Hymns for Solo Flute and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.
To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.
There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david- mckeown/6203 Devotion No. 3, Sing Praise
Devotion No. 3, Sing Praise # Piano, Voice # Sacred music # Christian contemporary # Joan Bujacich # Devotion No. 3, Sing Praise # Joan Bujacich # SheetMusicPlus
Piano,Vocal,Voice - Digital Download SKU: A0.893915 Composed by Joan Bujacich. Christian,Contemporary,Praise & Worship,Sacred,Spiritual. Score. 10 pages....(+)
Piano,Vocal,Voice - Digital Download SKU: A0.893915 Composed by Joan Bujacich. Christian,Contemporary,Praise & Worship,Sacred,Spiritual. Score. 10 pages. Joan Bujacich #6212185. Published by Joan Bujacich (A0.893915). This is Devotion No. 3, Sing Praise, from Three Devotions for Voice and Piano by composer, Joan Bujacich. This Devotion is the most religious in scope and opens with a prayer like, almost spoken in nature, vocal line. It then goes into 2 melodic, easy on the ears, sections. These two melodies come together between piano and voice in a climatic section before ending with a short coda which restates the introductory material. As with all Three Devotions, this can be performed alone or with the group of three. This particular composition would be very appropriate for church performances, The YouTube video, linked below, uses images of nature with the first theme and religious statues and images for the second theme. Kathy Knittel, mezzo soprano, recorded all three of The Devotions with Joan Bujacich accompanying on piano. You can also purchase this piece along with the other two Devotions here on SMP as a group of three instead of individually. This group of Three Devotions would make a great statement in a vocal recital. They are just challenging enough for the performers and refreshing in sound for the audience to merit being part of the standard vocal repertoire. Devotion No. 2, With Wonder
Devotion No. 2, With Wonder # Piano, Voice # Joan Bujacich # This Devotion   # Devotion No. 2, With Wonder # Joan Bujacich # SheetMusicPlus
Piano,Vocal,Voice - Digital Download SKU: A0.893914 Composed by Joan Bujacich. 20th Century,Contemporary,Sacred,Spiritual. Score. 7 pages. Joan Bujacich ...(+)
Piano,Vocal,Voice - Digital Download SKU: A0.893914 Composed by Joan Bujacich. 20th Century,Contemporary,Sacred,Spiritual. Score. 7 pages. Joan Bujacich #6212183. Published by Joan Bujacich (A0.893914). This is the Devotion No. 2, With Wonder from : Three Devotions For Classical Voice and Piano by Joan Bujacich. This Devotion is mysterious and humbling as it depicts the beauty of God's creation. It is the most advanced musically of the three with the piano looping rhythmic figures that create tension and intrigue, while the voice floats above melodiously. The video set to the music, linked below to Youtube, features abstract paintings and photographs chosen are by various artists. They demonstrate the unifying message of love and respect for life, our planet, the universe and God. Though this Devotion can be performed on its own, it does balance nicely between the other two if an artist performed all three. It can also be purchased here on SMP with the other two under the title Three Devotions For Voice and Piano. All Three Devotions were recorded by mezzo soprano, Kathy Knittel, and the composer, Joan Bujacich on piano. MÉDITATION - From the Opera Thaïs (for Violoncello and Piano accompaniment)
MÉDITATION - From the Opera Thaïs (for Violoncello and Piano accompaniment) # Cello, Piano # INTERMEDIATE # Classical # Jules Massenet
# Flavio Regis Cunha # MÉDITATION - From the Opera T # Flavio Regis
Cunha # SheetMusicPlus
Piano Accompaniment, Cello -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period,...(+)
Piano Accompaniment, Cello -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period, Opera, Valentine's
Day, St. Patrick's Day,
Wedding. Individual Part,
Score, Solo Part. 12 pages.
Published by Flavio Regis
Cunha This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.
The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.
The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line. MÉDITATION - From the Opera Thaïs (for Violin and Piano accompaniment)
MÉDITATION - From the Opera Thaïs (for Violin and Piano accompaniment) # Violin and Piano # INTERMEDIATE # Classical # Jules Massenet
# Flavio Regis Cunha # MÉDITATION - From the Opera T # Flavio Regis
Cunha # SheetMusicPlus
Piano Accompaniment, Violin -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period...(+)
Piano Accompaniment, Violin -
Intermediate - Digital
Download
Composed by Jules Massenet
(1842-1912). Arranged by
Flavio Regis Cunha. Romantic
Period, Opera, Wedding,
Graduation, Recital. Score,
Solo Part. 12 pages.
Published by Flavio Regis
Cunha This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.
The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.
The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line. London Town Fantasy for Trombone and Piano
London Town Fantasy for Trombone and Piano # Trombone and Piano # ADVANCED # Contemporary # Antonio J # London Town Fantasy for Trombo # Cherry Classics
Music # SheetMusicPlus
Piano Accompaniment, Trombone
- Advanced - Digital Download
Composed by Antonio J.
Garcia. 21st Century, Jazz,
Blues, Swing, Funk Jazz.
Score, Solo Par...(+)
Piano Accompaniment, Trombone
- Advanced - Digital Download
Composed by Antonio J.
Garcia. 21st Century, Jazz,
Blues, Swing, Funk Jazz.
Score, Solo Part. 14 pages.
Published by Cherry Classics
Music Virginia Commonwealth University Professor Antonio J. García has taken Haydn’s “London” Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would “showcase the trombone in a jazz ballad style and somehow reference the Haydn ‘London’ Symphony” that would follow it on the program, knowing that the first half of the concert would also include the Brahms “Variations on a Theme of Joseph Haydn.” She and trombone soloist Nathan Dishman suggested the title “London Town Fantasy,” envisioning a potential intersection with elements of George Gershwin’s “A Foggy Day (In London Town),” which seemed apt given a scheduled trip of García’s to London during the compositional process.
Listeners familiar with Haydn's “London” Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony’s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the “bridge” section of the tune is crafted from the first seven measures of the opening theme of Haydn’s first movement (Allegro).
The use of “A Foggy Day” had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin’s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of “A Foggy Day.” (An optional written-out solo is provided.)
Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).
The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or “minus one,” make rehearsals easy and even provide the aural basis for your own potential “virtual” performance. Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano # Piano solo # INTERMEDIATE # Marie-Agnès Nataf # Marie-Agnès Nataf: IL FUOCO R # Musik Fabrik Music Publishing # SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès Nataf. Concert,Contemporary. Score. 7 pages. Musik Fabrik Music Publish...(+)
Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès Nataf. Concert,Contemporary. Score. 7 pages. Musik Fabrik Music Publishing #2344341. Published by Musik Fabrik Music Publishing (A0.533330). Il fuoco rubato is one of the 3 pieces for piano solo Anamorphoses whose titles areBartoquade I, Bartoquade II b and Il fuoco rubato. These pieces can be linked together as awhole, in that order. The duration is of 5 minutes. They can also be played separately, orgrouped by two (Bartoquades I et II b, duration 3’). The same approach governs the writing ofthese compositions : taking model on works of the repertoire and transforming them as muchas possible while keeping a lot of important parameters.There are many cautionary accidentals. They are not enclosed in brackets to avoidoverloading writing. They are not systematically mentionned. In case of doubt, one willconsider the logic of the composition. When useful, one can distribute differently notesbetween the 2 hands on the condition of respecting the balance between voices. The sign *[on measure 80 means chromatic cluster (F-F#-G). Marie-Agnès NATAF was born on March 2, 1952 at Issy-les-Moulineaux, in the suburbs of Paris, Before deciding to devote herself completely to music, she began by studying both mathematics and musics at the same time. She had a varied base in her musical training, which allowed her to understand the teaching of her main teacher Narcis BONET. She studied the piano, chamber music, musical analysis, harmony and also to a lesser degree the flute, counterpoint and conducting. As a pianist, she received a First Prize in Piano and in Chamber Music at the Orsay Conservatory, the Gold Medla at the National Music School of Cahcan and the Artist Diploma at the Ecole Normale de Musique de Paris – in the class of Germaine MOUNIER. For composition, she studied with Narcis BONET (who later invited her to the Conservatoire Américain of Fontainebleau as accompanist and teacher of French Diction), Yoshihisa TAÃRA, and Edith CANAT de CHIZY. Having taught for a time at the Ecole Normale de Musique de Paris, she is currently professor of piano at the Conservatoire Erik Satie of Villebon-sur-Yvette, Marie-Agnès Nataf has a double career of performer and composer. In both areas, she is especially attracted to chamber music, for the rich musical and human exchanges that this type of music permits. She has written her works Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, Révolte sans paroles and Elan brisé for her colleagues the mezzo-soprano Nicole PARAMYTHIOTTI and the flutiste Isabelle MARCHAL with whom he has given concerts for many years. As a performer, she has premiered works by composers such as Gian-Paolo CHITI, Gloria COATES, Jean-Marie MACHADO, Yoshifumi UMEZAWA, Miao Wen WANG, without speaking of her own compositions. She also tries to discover high quality works of music which are rarely performed, especially works by women composers such as Thérèse BRENET, Dianne GOOLKASIAN-RAHBEE, Ruth LOMON. Her principal works are Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, for mezzo-soprano and piano, 8'30, 1981-83-86. Bartoquade I - Anamorphoses I, 1', et Bartoquade II b - Anamorphoses II, 2', for piano, 1990 revised in 2012. Il fuoco rubato - Anamorphoses III for piano, 2', 1991 revised in 2012. Révolte sans paroles for mezzo-soprano, flute and piano, 16'30, 2000. and Elan brisé and flute and piano, 6'30, 2005. In 2001, on the ocassion of the premier of Révolte sans paroles at the Centre Culturel Jacques Brel of of Villebon-sur-Yvette, she was invited to give a conference on her works at the Conservatoire Erik Satie. In April 2002, her songs were selected by the ensemble North /South Consonance directed by Max LIFCHITZ in a competition. In 2012, the Bartoquades were chosen to be on the list of works proposed by the FFEM for their examination list for intermediate pianists. On the su.