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It's All Right with Me: String Bass
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You've selected:
It's All Right with Me: String Bass
avanced
Sheetmusic to print
12 sheet music found
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1
Stabat Mater - string ensemble parts
Stabat Mater - string ensemble parts
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Contemporary
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble
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Annemieke Lustenhouwer
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lusten...
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00 ≈
17.18€
Come Fly With Me
Come Fly With Me
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Piano solo
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INTERMEDIATE/ADVANCED
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Frank Sinatra
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Martyn Clive Johnson (aka Mart
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Come Fly With Me
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Martyn Johnson
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1350503 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Martyn Clive Johnson (aka Marty...
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Piano Solo - Level 4 - Digital Download SKU: A0.1350503 By Frank Sinatra. By James Van Heusen and Sammy Cahn. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). Contemporary,Jazz,Pop,Ragtime,Standards. Score. 8 pages. Martyn Johnson #935306. Published by Martyn Johnson (A0.1350503). I take this classic tune through 2 keys - C major and Db major. It is basically a stride piano version but the right hand owes a lot to ragtime too. It should be played with a nice swing rhythm ie tied triplets not straight quavers (eighth notes) and with a bit of a bounce!I don't include fingering or dynamics of which no two piano teachers would agree on, so I leave this to the discretion of the player. I do include chord symbols which I always find most useful in learning a tune. Please note this is a piano solo and doesn't show the notation for the other instruments included on my youtube upload ie strings and bass. I write all my tunes to stand up as piano solos so it sounds perfect when played as a piano solo.It's a lovely tune and I hope you have as much fun playing it as I did arranging it.
$4.99 ≈
4.51€
From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes
From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes
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Orchestra
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INTERMEDIATE/ADVANCED
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James Nathaniel Holland
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From the Hillside, Aria for Te
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 page...
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Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathaniel Holland #3142471. Published by James Nathaniel Holland (A0.730401). Tenor Aria From the Hillside from the 21st Century Opera ON THE WINGS OF THE SCARLET MESSENGER (Based on the Henry James novel, On the Wings of a Dove) here with full orchestral accompaniment. (Full score in concert pitch, voice, and individual parts included) This accompaniment can also be used with the solo and male ensemble that is contained in the full vocal score.Instrumentation: pic, fl12,ob12,eh,cl12,bcl,tenor sax, bsn12,hrn1234, trpt 12, trmb, btrm, timp, hand cym/egg shaker, hrp, voice, stringsDuration: 4:00 minutes (Sample here begins with extra measure) Video presentation at: https://www.youtube.com/watch?v=u47yb4kiE0Y Curious? Listen to the complete opera playlist en demo at: http://www.youtube.com/watch?v=Rr5x_aXnUMM&list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMa Adaptation, Libretto, and Music by James Nathaniel Holland Performance: James Nathaniel Holland, Tenor Orchestra: CH Symphony Group (Complete Duration: 2 hours) BRIEF SYNOPSIS: In the urban capital of Soon Rafa, lovers Mariana (Soprano) and Kai (Bass) cannot be together because of Mariana's disapproving wealthy Aunt (Mezzo-Soprano). Torn between love and financial security, an unlikely opportunity arises when a dying rich Occidental, Justin (Tenor) reveals his romantic interest in Kai. The couple plot a pretense to inherit Justin's money and be free to marry and live together. This aria occurs in Act I, Scene 2. Justin (tenor) has just hired a group of porters, including Kai (bass), to guide him through the jungles of the island to photograph the mythical bird, the Scarlet Messenger. Although the men insist it is a legend, Justin inspires them to persevere with him. Aria Libretto, Justin (tenor singing): From the hillside, something breaks free. Is it real? Or just illusion? Oh how I have to see you, feel that beauty. Upon your wings our souls must one day fly to heaven. Never doubt that you can find him, hiding among your dreams. For when you feel all hope is gone, that's when you spot his red wings, fiery bright. (to the group of porters) So come with me, all's not in vain. It is real, just not illusion. The day is fading fast, oh, so quickly. We'll be the first to see that blazing path of fire. The Scarlet Messenger! Oh how that would be the greatest gift of my life. Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html Music, Lyrics, Performance Copyright 2017 James Nathaniel Holland.
$15.95 ≈
14.42€
Just A Girl
Just A Girl
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Bass guitar
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INTERMEDIATE/ADVANCED
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No Doubt
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Daniel Roberts
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Just A Girl
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Daniel P Roberts
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SheetMusicPlus
Bass Guitar - Level 4 - Digital Download SKU: A0.950672 By No Doubt. By Gwen Stefani and Thomas Dumont. Arranged by Daniel Roberts. 20th Century,Latin,Po...
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Bass Guitar - Level 4 - Digital Download SKU: A0.950672 By No Doubt. By Gwen Stefani and Thomas Dumont. Arranged by Daniel Roberts. 20th Century,Latin,Pop,Rock. Score. 6 pages. Daniel P Roberts #556397. Published by Daniel P Roberts (A0.950672). Arranged for 4 string bass in Drop D tuning with TAB Take this pink ribbon off my eyes I'm exposed and it's no big surprise Don't you think I know exactly where I stand? This world is forcing me to hold your hand 'Cause I'm just a girl, oh, little old me Well, don't let me out of your sight Oh, I'm just a girl, all pretty and petite So don't let me have any rights Oh, I've had it up to here The moment that I step outside So many reasons for me to run and hide I can't do the little things I hold so dear 'Cause it's all those little things that I fear 'Cause I'm just a girl, I'd rather not be 'Cause they won't let me drive late at night Oh, I'm just a girl, guess I'm some kind of freak 'Cause they all sit and stare with their eyes Oh, I'm just a girl, take a good look at me Just your typical prototype Oh, I've had it up to here Oh, am I making myself clear? I'm just a girl I'm just a girl in the world That's all that you'll let me be Oh, I'm just a girl, living in captivity Your rule of thumb makes me worrisome Oh, I'm just a girl, what's my destiny? What I've succumbed to is making me numb Oh, I'm just a girl, my apologies What I've become is so burdensome Oh, I'm just a girl, lucky me Twiddle-dum, there's no comparison Oh, I've had it up to Oh, I've had it up to Oh, I've had it up to here.
$4.99 ≈
4.51€
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95 ≈
15.32€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download 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 ≈
6.33€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download 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 ≈
6.33€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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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 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download 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 ≈
6.33€
La Folia in D Minor
La Folia in D Minor
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Jose Bravo
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La Folia in D Minor
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Jose Bravo
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SheetMusicPlus
Cello,Cembalo,Violin - Level 4 - Digital Download SKU: A0.1224544 Composed by Jose Bravo. Baroque,Chamber,Classical,Early Music. 107 pages. Jose Bravo #8...
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Cello,Cembalo,Violin - Level 4 - Digital Download SKU: A0.1224544 Composed by Jose Bravo. Baroque,Chamber,Classical,Early Music. 107 pages. Jose Bravo #820650. Published by Jose Bravo (A0.1224544). From the Composer:I committed last year (2022) to review my musical works that have been in digital storage, complete them as necessary, and release them for the world to hear. I finally finished my first work on this list, one that's been on my hard drive in one version or another since 1999 (that's 24 whole years!).Las Follias de España (which despite its name, originally came from Portugal) is a chord progression usually in either D minor or G minor in the form of i-V-i-VII-III-VII-i-V. Composers for the last 500 years have used this chord progression to come up with some fantastic theme and variations, ranging from unaccompanied works, trio sonatas, to even full orchestral implementations. You can spend a looooong time listening to all the beautiful compositions that composers have made over the centuries highlighting this very captivating set of chords.I humbly submit my own version of La Folia in D minor for String Trio and Cembalo (harpsichord). I wrote my first version of this in my senior year of High School as a challenge to myself to write music in a genre I loved. I made updates here and there over the years, but its sat on a hard drive the entire time. It's taken me months to essentially rework it to my satisfaction and has been submitted for copyright. I have uploaded it to YouTube to share with others.BIG SHOUT OUTS to the three composers that inspired me in this work:Corelli: - His version of La Folia is probably the most popular for violinists, especially those that play out of the Suzuki books. I included a modified version of his Folia (Variation 9) in my work (with all other parts being vastly different from his interpretation) as an homage to his work.J.S. Bach - He showed me that music can be as intelligent as it is beautiful. I have two variations inspired by his work. Variation 8 is one that I wrote this year (2023) which I wanted to write for a long time is a variation that showcases the Harpsichord. Bach's keyboard works and unaccompanied violin works inspired me here. Second, Variation 14 I feel has Bach's inspiration all over it. The violin parts are each playing separate distinct melodies in double counterpoint which trade parts on the repeat. The bass line follows a pattern that Bach has employed for the bass on a number of Violin concertos and lastly, the Harpsichord treble part is a mensuration canon based on one of the violin parts, with the keyboard part playing the melody 4x as fast with variations. Lastly on a play of numbers, number 14 was a very special number for Bach, and as a tribute, I've made this the 14th variation in my work. This was also a new variation I added this year (2023) as well.Vivaldi - My first musical love. I feel that I captured a little bit of his musical DNA in all my works and this piece showcases this. Vivaldi's works is what made me fall in love with Baroque music and I am indebted to him for the profound impact his works have had on my life.So here you go. 413 measures. My longest individual work to date. And because I love playing with numbers, I decided to release this to the world on my 41st Year, 3rd month. Enjoy!- Jose Bravo.
$5.00 ≈
4.52€
Hymn To Freedom
Hymn To Freedom
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Saxophone ensemble
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INTERMEDIATE/ADVANCED
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Oscar Peterson
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James Pybus
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Hymn To Freedom
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James Pybus
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SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0....
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Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1140852 By Oscar Peterson. By Harriette Hamilton and Oscar Peterson. Arranged by James Pybus. 20th Century,Blues,Jazz,Praise & Worship,Spiritual. 39 pages. James Pybus #741106. Published by James Pybus (A0.1140852). Recognized as one of Oscar Peterson’s most significant compositions, Hymn to Freedom was written in 1962 and was swiftly embraced by people over the world as the anthem of the Civil Rights Movement. The piece was Peterson’s first major work and was written with encouragement from his producer and dear friend Norman Granz. During those initial recording sessions, Granz urged Peterson to create a tune with a “definitive early-blues feelâ€. For inspiration, Peterson drew upon various church renderings of Negro spirituals recalled from his childhood in Montreal. He aimed to maintain the unadorned, yet poignant quality of these early Baptist hymns while composing the beginning chorus of Hymn to Freedom. Upon its completion, Peterson and Granz decided that lyrics would complement the music and contacted Malcolm Dodds, composer, arranger and choir director of The Malcolm Dodds Singers, a backup group for many popular artists of the day. Dodds turned to his collaborator Harriette Hamilton, who had been writing lyrics for the choir group’s original compositions for several years. According to Hamilton, “all the lyrics had to do was express in very simple language the hope for unity, peace, and dignity for mankind. It was easy to write.†With Peterson on piano, Ray Brown on bass and Ed Thigpen on drums, the trio recorded the piece on Night Train (Verve 1962), which became one of their most commercially successful albums. Critical acclaim moved Peterson to record Hymn to Freedom on several albums that followed. This arrangement is playable by SATB Saxophone Quartet with optional Bass Saxophone, String Bass and Drums. For performances by SATB Saxophone Quartet without rhythm, the part marked Baritone Saxophone 2 (substitute Bass Saxophone) should be used. Some improvising is allowed for in the soprano, alto and tenor parts. Optional written solos are provided. This arrangement will enhance a wide variety of concert programmes and performance situations. The duration is 4:45. Contact me at james.pybus56@gmail.com.
$24.99 ≈
22.59€
Three Laments of Heloise for Chamber Orchestra
Three Laments of Heloise for Chamber Orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00 ≈
90.41€
The Latest Whistledown from Bridgerton for Flute Choir
The Latest Whistledown from Bridgerton for Flute Choir
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Flute ensemble
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INTERMEDIATE/ADVANCED
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Film/TV
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Lisa Ochoco
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The Latest Whistledown from Br
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Lisa Ochoco
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SheetMusicPlus
Flute Choir - Advanced Intermediate - Digital Download Arranged by Lisa Ochoco. Score, Set of Parts. 18 pages. Published by Lisa Ochoco...
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Flute Choir - Advanced Intermediate - Digital Download Arranged by Lisa Ochoco. Score, Set of Parts. 18 pages. Published by Lisa Ochoco
For those Bridgerton fans out there, Lady Whistledown's Society Paper is how her dearest readers discovered the juiciest news about everyone who was someone in London. "If there's a scandal, she shall uncover it, and share every last detail." Even the queen read it!
The Netflix series burst onto the screen in December 2020, amid a pandemic, and became one of the most popular shows around the world.
Kris Bowers wrote the soundtrack for Bridgerton. The recording was done remotely by just 8 orchestra musicians. It proves, as many musicians have during the pandemic, that you don't have to be in the same room to make great music with others - the process is just a little weird.
The Latest Whistledown is a lively piece that is quite a delight. This arrangement is a bit beefier than the original recording, as it makes no sense to me to have members of the choir just sitting there with nothing to play while the others may think they have too many notes. This piece also includes a key change that the original does not have, because it helps lengthen the delight a little more.
Scored for piccolo, 3 C flutes, alto, bass, and contrabass flutes. There is an optional upright string bass part that doubles the contrabass part. It can be played by any bass clef C instrument in a similar range.
Duration: 2 minutes
$15.00 ≈
13.56€
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It's All Right with Me: String Bass
