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Air No.1
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13 sheet music found
<
1
Suite No. 1
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Le...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95 ≈
9.81€
Debussy: Piano Preludes Bk.1 No.4 Les sons et les parfums tournent dans l'air du soir - symph. wind
Debussy: Piano Preludes Bk.1 No.4 Les sons et les parfums tournent dans l'air du soir - symph. wind
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Classical
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Claude Debussy
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RayThompsonMusic
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Debussy: Piano Preludes Bk.1 N
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 5 - Digital Download SKU: A0.606424 Composed by Claude Debussy. Arranged by RayThompsonMusic. 20th Century. Score and parts. 18 pa...
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Large Ensemble - Level 5 - Digital Download SKU: A0.606424 Composed by Claude Debussy. Arranged by RayThompsonMusic. 20th Century. Score and parts. 18 pages. RayThompsonMusic #215628. Published by RayThompsonMusic (A0.606424). Debussy's Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike some notable collections of preludes from prior times, such as Chopin's Op. 28 preludes, or the preludes from Johann Sebastian Bach's The Well-Tempered Clavier, Debussy's do not follow a strict pattern of tonal centres. This piece is from book 1 (Translates as The sounds and perfumes of the night air Arranged double wind quintet and bass Clarinet in A. (Bb parts also provided).
$14.95 ≈
13.40€
Music for Three, Volume 5 - Part 2 Viola 50522
Music for Three, Volume 5 - Part 2 Viola 50522
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Daniel Kelley
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Daniel Kelley
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Music for Three, Volume 5 - Pa
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble Viola - Level 5 - Digital Download SKU: A0.614505 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classical,Romantic...
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Small Ensemble Viola - Level 5 - Digital Download SKU: A0.614505 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classical,Romantic Period,Wedding. Score and parts. 49 pages. Last Resort Music Publishing #223670. Published by Last Resort Music Publishing (A0.614505). Part 2 Viola - Music for Three, Volume 5 Late 19th & Early 20th Century Favorites Includes works by Debussy, Elgar, Rachmaninoff, Brahms, Kreisler, Prokofiev & more! An incredible collection of 35 arrangements for strings, woodwinds and piano – these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played. Table of Contents Braul, Joc Cu Bata, Maruntel from Rumanian Folk Dances (Bartok) Clair de Lune from Suite Bergamasque for piano (Debussy) Fille aux Cheveux de Lin, La from Douze Preludes, Book 1 (Debussy) Golliwog's Cake-walk from Children's Corner Suite (Debussy) Reverie (Debussy) Nimrod from Enigma Variations, Op. 35 (Elgar) Pomp and Circumstance March #1 (Elgar) Salut d'Amor, Op. 12 (Elgar) Ritual Fire Dance from El Amor Brujo (de Falla) Molly on the Shore Irish Reel (Grainger) Shepherd's Hey English Morris Dance Tune (Grainger) Liebesfreud from Alt-Wiener Tanzweisen (Kreisler) Liebeslied (Kreisler) Schon Rosmarian from Alt-Wiener Tanzweisen (Kreisler) To a Wild Rose from Woodland Sketches, Op. 51 (MacDowell) Gavotte and Larghetto from Classical Symphony, Op. 25 (Prokofiev) March from The Love of Three Oranges, Op. 33 (Prokofiev) Theme from 1st and 3rd Movements from Piano Concerto #2 (Rachmaninoff) Theme from 1st Movement from Piano Concerto #3 (Rachmaninoff) Le Jardin Feerique & Pavane de la Belle au Bois Dormant from Ma Mere l'Oye (Ravel) Pavane pour une Infante Defunte (Ravel) Menuet & Rigaudon from Tombeau de Couperin (Ravel) Balletto & Passo Mezzo e Mascherada from Ancient Airs & Dances (Respighi) Gymnopedie No. 1 from Trois Gymnopedies (Satie) Larghetto (Stravinsky) Gavotta, Overture and Serenata from Pulcinella (Stravinsky) Other Parts Available: 50511 Part 1 Flute or Oboe or Violin 50513 Part 1 Clarinet in Bb 50521 Part 2 Flute or Oboe or Violin 50522 Part 2 Viola 50523 Part 2 Clarinet in Bb 50531 Part 3 Cello or Bassoon 50540 Keyboard or Guitar 50599 Score (Parts 1-3 in C).
$20.00 ≈
17.92€
Music for Three, Volume 5 - Score 50599
Music for Three, Volume 5 - Score 50599
#
Daniel Kelley
#
Daniel Kelley
#
Music for Three, Volume 5 - Sc
#
Last Resort Music Publishing
#
SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.614503 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classical,Romantic Perio...
(+)
Small Ensemble - Level 5 - Digital Download SKU: A0.614503 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classical,Romantic Period,Wedding. Score and parts. 92 pages. Last Resort Music Publishing #223667. Published by Last Resort Music Publishing (A0.614503). Score - Music for Three, Volume 5 Late 19th & Early 20th Century Favorites Includes works by Debussy, Elgar, Rachmaninoff, Brahms, Kreisler, Prokofiev & more! An incredible collection of 35 arrangements for strings, woodwinds and piano – these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played. Table of Contents Braul, Joc Cu Bata, Maruntel from Rumanian Folk Dances (Bartok) Clair de Lune from Suite Bergamasque for piano (Debussy) Fille aux Cheveux de Lin, La from Douze Preludes, Book 1 (Debussy) Golliwog's Cake-walk from Children's Corner Suite (Debussy) Reverie (Debussy) Nimrod from Enigma Variations, Op. 35 (Elgar) Pomp and Circumstance March #1 (Elgar) Salut d'Amor, Op. 12 (Elgar) Ritual Fire Dance from El Amor Brujo (de Falla) Molly on the Shore Irish Reel (Grainger) Shepherd's Hey English Morris Dance Tune (Grainger) Liebesfreud from Alt-Wiener Tanzweisen (Kreisler) Liebeslied (Kreisler) Schon Rosmarian from Alt-Wiener Tanzweisen (Kreisler) To a Wild Rose from Woodland Sketches, Op. 51 (MacDowell) Gavotte and Larghetto from Classical Symphony, Op. 25 (Prokofiev) March from The Love of Three Oranges, Op. 33 (Prokofiev) Theme from 1st and 3rd Movements from Piano Concerto #2 (Rachmaninoff) Theme from 1st Movement from Piano Concerto #3 (Rachmaninoff) Le Jardin Feerique & Pavane de la Belle au Bois Dormant from Ma Mere l'Oye (Ravel) Pavane pour une Infante Defunte (Ravel) Menuet & Rigaudon from Tombeau de Couperin (Ravel) Balletto & Passo Mezzo e Mascherada from Ancient Airs & Dances (Respighi) Gymnopedie No. 1 from Trois Gymnopedies (Satie) Larghetto (Stravinsky) Gavotta, Overture and Serenata from Pulcinella (Stravinsky) Other Parts Available: 50511 Part 1 Flute or Oboe or Violin 50513 Part 1 Clarinet in Bb 50521 Part 2 Flute or Oboe or Violin 50522 Part 2 Viola 50523 Part 2 Clarinet in Bb 50531 Part 3 Cello or Bassoon 50540 Keyboard or Guitar 50599 Score (Parts 1-3 in C).
$39.95 ≈
35.80€
Music for Three, Volume 5 - Part for Flute or Oboe or Violin 50521
Music for Three, Volume 5 - Part for Flute or Oboe or Violin 50521
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Daniel Kelley
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Daniel Kelley
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Music for Three, Volume 5 - Pa
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble Flute,Oboe,Violin - Level 5 - Digital Download SKU: A0.614504 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classi...
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Small Ensemble Flute,Oboe,Violin - Level 5 - Digital Download SKU: A0.614504 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 20th Century,Classical,Romantic Period,Wedding. Score and parts. 49 pages. Last Resort Music Publishing #223669. Published by Last Resort Music Publishing (A0.614504). Part 2 for Flute or Oboe or Violin - Music for Three, Volume 5 Late 19th & Early 20th Century Favorites Includes works by Debussy, Elgar, Rachmaninoff, Brahms, Kreisler, Prokofiev & more! An incredible collection of 35 arrangements for strings, woodwinds and piano – these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased as sets. The keyboard/guitar part encompasses both parts 2 and 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played. Table of Contents Braul, Joc Cu Bata, Maruntel from Rumanian Folk Dances (Bartok) Clair de Lune from Suite Bergamasque for piano (Debussy) Fille aux Cheveux de Lin, La from Douze Preludes, Book 1 (Debussy) Golliwog's Cake-walk from Children's Corner Suite (Debussy) Reverie (Debussy) Nimrod from Enigma Variations, Op. 35 (Elgar) Pomp and Circumstance March #1 (Elgar) Salut d'Amor, Op. 12 (Elgar) Ritual Fire Dance from El Amor Brujo (de Falla) Molly on the Shore Irish Reel (Grainger) Shepherd's Hey English Morris Dance Tune (Grainger) Liebesfreud from Alt-Wiener Tanzweisen (Kreisler) Liebeslied (Kreisler) Schon Rosmarian from Alt-Wiener Tanzweisen (Kreisler) To a Wild Rose from Woodland Sketches, Op. 51 (MacDowell) Gavotte and Larghetto from Classical Symphony, Op. 25 (Prokofiev) March from The Love of Three Oranges, Op. 33 (Prokofiev) Theme from 1st and 3rd Movements from Piano Concerto #2 (Rachmaninoff) Theme from 1st Movement from Piano Concerto #3 (Rachmaninoff) Le Jardin Feerique & Pavane de la Belle au Bois Dormant from Ma Mere l'Oye (Ravel) Pavane pour une Infante Defunte (Ravel) Menuet & Rigaudon from Tombeau de Couperin (Ravel) Balletto & Passo Mezzo e Mascherada from Ancient Airs & Dances (Respighi) Gymnopedie No. 1 from Trois Gymnopedies (Satie) Larghetto (Stravinsky) Gavotta, Overture and Serenata from Pulcinella (Stravinsky) Other Parts Available: 50511 Part 1 Flute or Oboe or Violin 50513 Part 1 Clarinet in Bb 50521 Part 2 Flute or Oboe or Violin 50522 Part 2 Viola 50523 Part 2 Clarinet in Bb 50531 Part 3 Cello or Bassoon 50540 Keyboard or Guitar 50599 Score (Parts 1-3 in C).
$20.00 ≈
17.92€
Ciocârlia - Ševa - for band
Ciocârlia - Ševa - for band
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Traditional
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Zoran Radanovic
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Ciocârlia - Ševa - for band
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Zoran Radanovic
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SheetMusicPlus
Strings Acoustic Guitar,Bass Guitar,Drum Set,Electric Guitar,Violin - Level 5 - Digital Download SKU: A0.1486130 Composed by Traditional. Arranged by Zor...
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Strings Acoustic Guitar,Bass Guitar,Drum Set,Electric Guitar,Violin - Level 5 - Digital Download SKU: A0.1486130 Composed by Traditional. Arranged by Zoran Radanovic. Folk,Multicultural,Standards,Traditional,Wedding,World. 79 pages. Zoran Radanovic #1063186. Published by Zoran Radanovic (A0.1486130). This arrangement is for professional band with set of parts.Ciocârlia (meaning the skylark) is a Romanian tune, allegedly composed by the Romani-Romanian pan flute player Angheluş Dinicu[1][2] in the virtuosic style of the urban lăutarească music from late 19th century. Angheluş Dinicu first presented the tune in 1889 at the inauguration of the Eiffel Tower. However, the most famous version would become that of his grandson Grigoraș Dinicu, that adapted the tune for violin. George Enescu also was inspired by Ciocârlia for his composition the Romanian Rhapsody No. 1 for orchestra. Ciocârlia has been covered numerous times, but because it is a piece of lăutărească music and not a piece of Romanian peasant music it cannot be considered representative for the Romanian peasant spirit.[3] In the case of the Ciocârlia, like with other famous tunes of lăutărească music, there were attempts to hide the name of the composer in order to make it seem anonymous/traditional.[4] It is known as Ševa (Шева) and čučuliga (Чучулига) in Serbian, Bulgarian and Macedonian. It has also become highly popular in the Jewish Klezmer repertoire.[5] In Georgia, the tune became widely adopted into traditional folk music repertoire and is known as Torola (ტოროლა, the lark)[6] During the communist-era, the Romanian intelligence service operated a numbers station believed to be used by spies in foreign countries. The station known as V01 became well known for its use of Ciocârlia as its opening interval, which would be followed by a series of number-coded messages in Romanian and concluded with the words Terminat. The station fell off the air soon after the 1989 coup and overthrow of Ceausescu.[7] The song was featured as part of the soundtrack for the 2009 Ubisoft game Rabbids Go Home, performed by Moldovan gypsy brass band Fanfare Vagabontu.
$17.49 ≈
15.67€
Bass Lines for Unaccompanied Bass Trombone
Bass Lines for Unaccompanied Bass Trombone
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David Fetter
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Bass Lines for Unaccompanied B
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Gordon Cherry
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SheetMusicPlus
Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1370067 Composed by David Fetter. 20th Century,Contemporary. Individual part. 9 page...
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Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.1370067 Composed by David Fetter. 20th Century,Contemporary. Individual part. 9 pages. Gordon Cherry #954442. Published by Gordon Cherry (A0.1370067). Bass Lines for unaccompanied Bass Trombone by David Fetter, composed in 1993, consists of four intentionally difficult etudes.No. 1 exploits a traditional Boogie-Woogie figure, taking it through all keys, like an elaborate warm-up.No. 2, Spain has a Spanish influence. Its first performance was by Blair Bollinger, Bass Trombone of the Philadelphia Orchestra, on a recital at Temple University in 1996.No. 3, Flowing is a minimalist challenge requiring concentration, breath control, and stamina, with long flowing patterns, slurs through the middle register, and references to rhythms found in the music of Charles Ives.No. 4, Rock has a pounding rock-guitar A section and a calm, jazz-cello style B section.This work of about 15-minutes in length is appropriate for advanced performers. Bass Lines is a great work to present on a recital, competition, or a jury.
$20.00 ≈
17.92€
Fauré: Masques et Bergamasques Suite Op.112 - symphonic wind
Fauré: Masques et Bergamasques Suite Op.112 - symphonic wind
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Classical
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Gabriel Faure
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Ray Thompson
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Fauré: Masques et Bergamasque
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 5 - Digital Download SKU: A0.553822 Composed by Gabriel Faure. Arranged by Ray Thompson. 20th Century,Romantic Period. Score and p...
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Large Ensemble - Level 5 - Digital Download SKU: A0.553822 Composed by Gabriel Faure. Arranged by Ray Thompson. 20th Century,Romantic Period. Score and parts. 100 pages. RayThompsonMusic #4804305. Published by RayThompsonMusic (A0.553822). Masques et bergamasques, Op. 112, is an orchestral suite by Gabriel Fauré. It was arranged by the composer from incidental music he provided for a theatrical entertainment commissioned for Albert I, Prince of Monaco in 1919. The original score contained eight numbers, including two songs for tenor, and a choral passage. These numbers were not included in the published suite, which has four movements.The eight movements of the divertissement were almost all drawn from earlier works of Fauré:Ouverture (from an abandoned 1869 symphony)Pastorale (the only wholly new movement)Madrigal (Op. 35, 1884; for chorus and orchestra)Le Plus doux chemin (Op. 87, No. 1; for tenor and orchestra)Menuet (extensively reworked from the 1869 symphony)Clair de lune (Op. 46, No. 2; for tenor and orchestra)Gavotte (from the 1869 symphony)Pavane (Op. 50, 1887)The suite drawn from the work has remained one of Fauré's most popular works. It was published by Durand et cie in 1919. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp and strings.The suite, which has a typical playing time of about 14 minutes, consists of four of the purely orchestral movements:OvertureMinuetGavottePastoraleIt is arranged here for double wind quintet and bass.(string bass/tuba parts provided)
$19.95 ≈
17.88€
Duelin' Banjos
Duelin' Banjos
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Earl Scruggs
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Cascia Talbert
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Duelin' Banjos
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Cascia Talbert
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SheetMusicPlus
Instrumental Duet,Piccolo,Tuba - Level 5 - Digital Download SKU: A0.1366758 By Earl Scruggs. By Arthur Smith. Arranged by Cascia Talbert. Comedy,Country,...
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Instrumental Duet,Piccolo,Tuba - Level 5 - Digital Download SKU: A0.1366758 By Earl Scruggs. By Arthur Smith. Arranged by Cascia Talbert. Comedy,Country,Film/TV,Folk. 10 pages. Cascia Talbert #951086. Published by Cascia Talbert (A0.1366758). Dueling Banjos is a bluegrass composition by Arthur Guitar Boogie Smith. The song was composed in 1954 by Smith as a banjo instrumental he called Feudin' Banjos; it contained riffs from Smith, recorded in 1955 playing a four-string plectrum banjo and accompanied by five-string bluegrass banjo player Don Reno. The composition's first wide-scale airing was on a 1963 television episode of The Andy Griffith Show called Briscoe Declares for Aunt Bee, in which it is played by visiting musical family the Darlings (portrayed by The Dillards, a bluegrass group), along with Griffith himself.The song was made famous by the 1972 film Deliverance, which also led to a successful lawsuit by the song's composer, as it was used in the film without Smith's permission. The film version was arranged and recorded by Eric Weissberg and Steve Mandell, but only credited to Weissberg on a single subsequently issued in December 1972. It went to second place for four weeks on the Billboard Hot 100 in 1973, behind Roberta Flack's Killing Me Softly with His Song; it topped the adult contemporary chart for two weeks. It reached No. 1 for one week on both the Cashbox and Record World charts. It reached No. 5 on Hot Country Singles. It was nominated for the 30th Golden Globe Awards as Best Original Song. The success of the single led to an album of the same name released in January 1973.This instrumental makes use of the quoting of the first 12 notes of Yankee Doodle.This arrangement is for tuba and piccolo.
$4.99 ≈
4.47€
Advanced Trombone Long Tones - Nov '23
Advanced Trombone Long Tones - Nov '23
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Michele Fortunato
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Advanced Trombone Long Tones -
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Trombonhero
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SheetMusicPlus
Tenor Trombone - Level 5 - Digital Download SKU: A0.1317720 Composed by Michele Fortunato. Folk,Funk,Instructional,Pop,Reggae. Educational Exercises. 6 p...
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Tenor Trombone - Level 5 - Digital Download SKU: A0.1317720 Composed by Michele Fortunato. Folk,Funk,Instructional,Pop,Reggae. Educational Exercises. 6 pages. Trombonhero #906400. Published by Trombonhero (A0.1317720). Trombone exercises by TrombonheroAdvanced level long tones released on Nov '23Grade 5: advanced.Instrument: trombone (no valves needed).Range: lowest note is A4; highest note is A4 (above the middle C).Adding long tones to our trombone routines is extremely helpful: it strengthens our air stream, our lips and our body!On the other hand, it can be very boring, though! For this reason, I've composed a bounce of new trombone long tone exercises that will bring our trombone practice to a funnier level!Inside this PDF, you will find 5 original trombone long tones exercises that you can add to your daily (or weekly!) practice.Each exercise has a length of 1 minute and it develops the note approach behind the classical long tone exercises into a slide approach through glissandos and different slide positions.I've also prepared 5 different backing tracks that we can use as a play-along (as I said, we're heading to having some fun here!).Reminder: playing all the trombone exercises of a book won't help you being a better trombone player. Practicing the trombone with fun and consciousness, it will. Be aware and just breathe!
$9.99 ≈
8.95€
Capriol Suite
Capriol Suite
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Contemporary
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Peter Warlock
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John Gibson
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Capriol Suite
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.582043 Composed by Peter Warlock. Arranged by John Gibson. Contempor...
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.582043 Composed by Peter Warlock. Arranged by John Gibson. Contemporary. 95 pages. JB Linear #4621593. Published by JB Linear (A0.582043). Warlock's Capriol Suite is a set of 6 dances that freely utilize songs found in a Renaissance dancing guide. They vary from soft, gentle pieces to vigorous dance forms. Warlock did not simply transcribe these songs, but added his own touches, sometimes with surprising combinations. So....even if something sounds a little wrong, most likely it is not! The movements include Basse-Danse, Pavane, Tordion, Bransles, Pieds-en-l'air, and Mattachins (Sword Dance). This setting of the string orchestra version for CLARINET CHOIR BY JOHN GIBSON IS FOR Eb SOPRANO, Bb SOPRANO 1-3 ALTO, BASS, AND CONTRA. THERE IS AN ALTERNATE PART IF THERE IS NO ALTO.
$19.25 ≈
17.25€
Oscillation
Oscillation
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Contemporary
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contrast, the string quartet h
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score ...
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95 ≈
17.88€
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
Ah, scostati!...Smanie implacabili (Dorabella) from Così fan tutte - Accessible Accompaniments Ed.
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Classical
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Classical
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Wolfgang Amadeus Mozart
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Nicole Elyse DiPaolo
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Ah, scostati!...Smanie implaca
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Nicole Elyse DiPaolo
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SheetMusicPlus
Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classi...
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Mezzo-Soprano Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1186002 Composed by Wolfgang Amadeus Mozart. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 10 pages. Nicole Elyse DiPaolo #785660. Published by Nicole Elyse DiPaolo (A0.1186002). The first of its kind, this is a much more readable and sight-playable piano/vocal reduction of Ah, scostati!...Smanie implacabili,†Dorabella’s first aria from Mozart’s Così fan tutte (1790). The sextuplets in the right hand found in most standard reductions have been condensed into triplets with a grace note, emphasizing that the gestural shape is what needs to be heard rather than every individual note, and the result is a much clearer and less note-filled score for the audition pianist. Some large spans in the left hand have also been reduced out and redistributed for more ergonomic playing on long audition days. When a grace note has an accidental that is then repeated later in the gesture, I’ve rewritten that accidental on the full-size note containing it for ease of reading (so the cue-size accidental is not the only indication of said accidental in the measure, which would make it too easy to miss). The recitative “Ah, scostati!†is also included with slight alterations and courtesy accidentals in the melodic minor scales.As with any Accessible Accompaniments edition that’s not also an audition/solo cut, I suggest bringing two copies to each audition: one Accessible Accompaniment and one copy of a standard edition. Audition pianists who don’t know the aria will almost always choose the cleaner look of the Accessible Accompaniment, but those who know “Smanie†well might prefer to play from the edition they learned it from. This will provide singers and their audition pianists every chance of a successful collaboration.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged†with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim†accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included additional courtesy accidentals.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. I’ve also replaced text “cresc.†and “dim.†markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .
$8.95 ≈
8.02€
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Air No.1
