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I Should Care
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You've selected:
I Should Care
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Sheetmusic to print
33 sheet music found
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1
26
I Should Care
I Should Care
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Contemporary
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Axel Stordahl and Paul Weston
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DIXON mus-IC
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Eb versions
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I Should Care
#
Rammy Music
#
SheetMusicPlus
Digital Download SKU: A0.793779 Composed by Axel Stordahl and Paul Weston. Arranged by DIXON mus-IC. Contemporary. 4 pages. Rammy Music #4633281. Publish...
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Digital Download SKU: A0.793779 Composed by Axel Stordahl and Paul Weston. Arranged by DIXON mus-IC. Contemporary. 4 pages. Rammy Music #4633281. Published by Rammy Music (A0.793779). This is a basic lead sheet for Sammy Kahn's I should Care - tune and chord symbols. There are concert, concert bass clef, Bb & Eb versions.The parts are clearly laid out and would be perfect for use in a jazz setting.
$4.99 ≈
4.61€
I Should Care
I Should Care
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Contemporary
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Axel Stordahl and Paul Weston
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Debra E
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I Should Care
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Standard Time
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SheetMusicPlus
Small Ensemble Alto Saxophone,Piano,Voice - Level 4 - Digital Download SKU: A0.761670 Composed by Axel Stordahl and Paul Weston. Arranged by Debra E. Ste...
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Small Ensemble Alto Saxophone,Piano,Voice - Level 4 - Digital Download SKU: A0.761670 Composed by Axel Stordahl and Paul Weston. Arranged by Debra E. Stempien, Gregory H. Turner. Contemporary. Score and parts. 14 pages. Standard Time #4285901. Published by Standard Time (A0.761670). This classic ballad by Sammy Cahn, Paul Weston, and Axel Stordahl is arranged for alto sax and vocal solos with piano accompaniment. Recorded by favorites such as Frank Sinatra, Nat King Cole, Jo Stafford, and Boz Scaggs, this arrangement features updated harmonies and solos on the complete form for both sax and voice. In addition to a score and individual parts, a combined vocal and piano part is included for the singing pianist, along with a lead sheet containing both solo parts with chord symbols. To hear the arrangement in its entirety, please visit: https://standardtime.bandcamp.com/track/i-should-care
$14.99 ≈
13.86€
They Don't Care About Us
They Don't Care About Us
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Rock
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Michael Jackson
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Christopher Alexander
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They Don't Care About Us
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Christopher Alexander
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SheetMusicPlus
Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.839901 Composed by Michael Jackson. Arranged...
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Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.839901 Composed by Michael Jackson. Arranged by Christopher Alexander. Pop,Rock. 51 pages. Christopher Alexander #6069843. Published by Christopher Alexander (A0.839901). Michael Jackson wrote this protest anthem in the mid-1990's and the song reached #30 on the Billboard Top 100. The music includes strong accents and rhythmic cadences to demonstrate a march-like feel to the performance. Though controversial at the time of its release, lyrics including the line All I wanna say is that they don't really care about us is a strong message that should be heard in today's world.Octavo also available: https://www.sheetmusicplus.com/title/they-don-t-care-about-us-octavo-digital-sheet-music/21868851
$25.00 ≈
23.11€
I Should Care (arr. David Hazeltine)
I Should Care (arr. David Hazeltine)
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David Hazeltine
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I Should Care
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Hal Leonard - Digital
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SheetMusicPlus
C Instrument,Piano and Keyboard - Digital Download SKU: HX.1126506 Arranged by David Hazeltine. This edition: scorch. Jazz,Love,Standards. Real Book - En...
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C Instrument,Piano and Keyboard - Digital Download SKU: HX.1126506 Arranged by David Hazeltine. This edition: scorch. Jazz,Love,Standards. Real Book - Enhanced Chords. 1 pages. Hal Leonard - Digital #365500. Published by Hal Leonard - Digital (HX.1126506).
$3.99 ≈
3.69€
I Should Care
I Should Care
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Jazz
#
Tunescribers
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I Should Care
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ArrangeMe
#
SheetMusicPlus
Double Bass,Drums,Piano,Tenor Saxophone,Trombone - Digital Download SKU: A0.1334350 Arranged by Tunescribers. Jazz. 31 pages. ArrangeMe #58666. Published...
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Double Bass,Drums,Piano,Tenor Saxophone,Trombone - Digital Download SKU: A0.1334350 Arranged by Tunescribers. Jazz. 31 pages. ArrangeMe #58666. Published by ArrangeMe (A0.1334350).
$15.95 ≈
14.75€
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
27.69€
Waltz of the Roses (Think of My Love As A Rose), for High Voice Piano, Theme from The Snow Queen, A
Waltz of the Roses (Think of My Love As A Rose), for High Voice Piano, Theme from The Snow Queen, A
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James Nathaniel Holland
#
Waltz of the Roses
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James Nathaniel Holland
#
SheetMusicPlus
High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730413 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. 8 pages. James Natha...
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High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730413 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. 8 pages. James Nathaniel Holland #3369761. Published by James Nathaniel Holland (A0.730413). A beautiful, sentimental slow waltz from the Pas de Deux of the ballet, The Snow Queen by American composer James Nathaniel Holland. Â Here arranged for high voice (key of C), piano, and with guitar chords. Intermediate level. Perfect for Valentine's Day, Wedding Father Daughter Waltz, or anytime of the year! Orchestral accompaniment sold separately.Beautiful and bright as the Red Rose;With only one hope: 'You'll remember me.'Know that I'll always love you,And that this love will not fade.Fresh, so sweet, the fragrance,Of those happy times, wonderful, sublime, we once shared.If I should dare, say you still care!Think of my love as a Rose.(Brief music interlude)I wish you nothing but gladness,And a life filled with Joy!Seasons may come;Years, they may go,Love can survive,Through Winter's snow.And so this love will for you,Think of my love as a Rose.As Seasons fly; Years, as they go,Think of my love as a Rose!J.N. Holland (Duration: 6 minutes)YouTube Video Presentation: Â https://youtu.be/9dgnKajSsE8Facebook page: Â https://www.facebook.com/jamesnathanielholland/.
$4.95 ≈
4.58€
Ode to My Savior Beginner Trumpet Trio
Ode to My Savior Beginner Trumpet Trio
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Eddie Lewis
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Ode to My Savior Beginner Trum
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Tiger Music
#
SheetMusicPlus
Brass Ensemble Trumpet - Level 1 - Digital Download SKU: A0.1079739 Composed by Eddie Lewis. Classical,Instructional,Sacred. Score and parts. 6 pages. Ti...
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Brass Ensemble Trumpet - Level 1 - Digital Download SKU: A0.1079739 Composed by Eddie Lewis. Classical,Instructional,Sacred. Score and parts. 6 pages. Tiger Music #683926. Published by Tiger Music (A0.1079739). I have said this in the description for other pieces, but it’s worth mentioning again. I believe that trumpet students should begin performing from the start of their careers. The problem with this belief is that there isn’t much good music written for the beginners to perform. Most of what is published is “dumbed down†and doesn’t sound like real music. I have been trying to fill that cap by composing pieces for the beginners that I would be proud to perform in public. My objective with these compositions is to write music that sounds like real music, but functions within the limitations of the beginners’ trumpet skills. My first compositions of this nature were the three bird solos, Bird March, Feathered Friends and The Purple Parrot (which I let my then current students name). One of those students performed the Bird March solo at a school assembly only three or four months after she started playing the trumpet. That student eventually quit trumpet to pursue a busy performance career in theater (she was an elementary school student) but performing the Bird March for her fellow students is a memory she will always fondly look back on. That is part of why performing early in the learning process is so important. You don’t know when students will continue, and which ones will not. For those students whose trumpet careers end up being no longer than a year, the one or two performances they have in that year are all they will have to look back on. Unfortunately, those who do not perform at all will only ever remember the drudgery of pointless practice and rehearsals. But there’s more to my early performance philosophy than just that. For those students who do continue their trumpet careers for many years, the earlier performances have a mental benefit that cannot be replaced in any other way. Their future progress on the trumpet is greatly enhanced by each performance they present in the first two years of their trumpet careers.
$5.08 ≈
4.70€
Five French Masters
Five French Masters
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Chris North
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Five French Masters
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Danetre Music
#
SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1475437 Composed by Chris North. Contest,Festival,Historic,Multicultural,World. Brass Band. 189 pages. Danetre Music #1052989. Published by Danetre Music (A0.1475437). A Suite for British Style Brass Band. Each movement is based on a famous French Impressionist painting as follows:1. Boulevard Montmarte (Pissarro – 1897) The Boulevard Montmartre is one of the four grand boulevards of Paris. This painting gave me the idea of writing a piece to portray a journey in a pony and trap through this busy street scene, starting out serenely in the suburbs, travelling through all the hustle and bustle, before trailing off into the distance. An all pervasive Poulenc mouvement perpetual accompaniment style is present throughout this movement. 2. Lac d'Annecy (Cézanne - 1896) Although marked Waltz triste (sad waltz), the mood of the music is rather reflective in nature. This movement is the longest of the five and I would not recommend it being played too slow. Stylistically, it is a characteristic accordion piece, so touches of rubato here and there wouldn’t be out of keeping. 3. La Cathédrale de Rouen (Monet - 1894) This is the most difficult movement to play in respect of intonation, with lots of unisons, octaves and parallel intervals. The opening should be a true piano in order to allow the piece grow. The plainsong statements should be played smoothly and with plenty of air. 4. Les Parapluies (Renoir - 1884) A jaunty, playful theme leading in to a little fugue. A little low in places for the euphoniums and baritones. The music should skip along comfortably without rushing to allow the finer detail to come through. 5. Au Moulin Rouge (Toulouse-Lautrec - 1895) A lively tempo, always chasing forward without slackening. As in the previous movement, good dynamic contrast, swells and tight precise articulation. Lots of work for everyone, especially the baritones and euphoniums. Take care that the mf dynamic of the 'bass solo' is not overdone. If needs must, the siren whistle could be substituted with a referee's whistle, but I would like my duck call! The champagne cork 'pops' are really more visual than audible, however, it would be advisable for more of the band to join in, as required. A super work to add to your repertoire as a concert or contest item. This title has already been played by a number of bands in various competitions, and was chosen as the 4th Section Test Piece for the Butlins Mineworkers Brass Band Championships 2015 in Skegness, UK.
$59.99 ≈
55.46€
Five French Masters
Five French Masters
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Chris North
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Five French Masters
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Danetre Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1467794 Composed by Chris North. Contemporary,Contest,Festival,Historic,Multicultural,World. Brass Band. 189 pages. Danetre Music #1046092. Published by Danetre Music (A0.1467794). A Suite for British Style Brass Band which was chosen as the 4th Section Test Piece for the Butlins Mineworkers Brass Band Championships 2015 in Skegness, UK. Each movement is based on a famous French Impressionist painting as follows:1. Boulevard Montmarte (Pissarro – 1897) The Boulevard Montmartre is one of the four grand boulevards of Paris. This painting gave me the idea of writing a piece to portray a journey in a pony and trap through this busy street scene, starting out serenely in the suburbs, travelling through all the hustle and bustle, before trailing off into the distance. An all pervasive Poulenc mouvement perpetual accompaniment style is present throughout this movement. 2. Lac d'Annecy (Cézanne - 1896) Although marked Waltz triste (sad waltz), the mood of the music is rather reflective in nature. This movement is the longest of the five and I would not recommend it being played too slow. Stylistically, it is a characteristic accordion piece, so touches of rubato here and there wouldn’t be out of keeping. 3. La Cathédrale de Rouen (Monet - 1894) This is the most difficult movement to play in respect of intonation, with lots of unisons, octaves and parallel intervals. The opening should be a true piano in order to allow the piece grow. The plainsong statements should be played smoothly and with plenty of air. 4. Les Parapluies (Renoir - 1884) A jaunty, playful theme leading in to a little fugue. A little low in places for the euphoniums and baritones. The music should skip along comfortably without rushing to allow the finer detail to come through. 5. Au Moulin Rouge (Toulouse-Lautrec - 1895) A lively tempo, always chasing forward without slackening. As in the previous movement, good dynamic contrast, swells and tight precise articulation. Lots of work for everyone, especially the baritones and euphoniums. Take care that the mf dynamic of the 'bass solo' is not overdone. If needs must, the siren whistle could be substituted with a referee's whistle, but I would like my duck call! The champagne cork 'pops' are really more visual than audible, however, it would be advisable for more of the band to join in, as required.
$59.99 ≈
55.46€
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
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Gioachino Rossini
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Nicole Elyse DiPaolo
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Largo al factotum
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Nicole Elyse DiPaolo
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Cent...
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1176334 Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334). The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,†the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.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 hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.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. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “߆with “ss†in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some 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 ≈
8.27€
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
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Classical
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Richard Strauss
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Nicole Elyse DiPaolo
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Wie Du warst
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Nicole Elyse DiPaolo
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Pe...
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Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799612 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612). The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.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 hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.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 ≈
8.27€
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 ≈
8.27€
The Tortoise and the Hare
The Tortoise and the Hare
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Allan Herbie Jones
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The Tortoise and the Hare
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Forton Music - Digital
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SheetMusicPlus
Ob. Pft. - Intermediate - Digital Download SKU: F2.FM465 Composed by Allan Herbie Jones. Oboe and Piano. Score and part. 11 pages. Forton Music - Digital...
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Ob. Pft. - Intermediate - Digital Download SKU: F2.FM465 Composed by Allan Herbie Jones. Oboe and Piano. Score and part. 11 pages. Forton Music - Digital #FM465. Published by Forton Music - Digital (F2.FM465). ISBN 9790570483648.When played with feeling and expertise, the Oboe can produce the articulate and artistic qualities of perfection. The opening melancholy melody depicts the laid back Tortoise going about his (or her) daily business, with not a care in the world and without any hurry. To me, - perfection. Along comes the up tempo Hare with his (or her), 'always on the go' attitude, jumping about like a 'kangaroo on a trampoline'. To me, - passed that stage in my life. Back to the Tortoise melody and a little 'chilled out' cadenza to finish. To me, again, - perfection. The piece should be played with plenty of feeling. The tempo markings are only a guideline and the phrasing and slur markings are there, only to suggest how I would like it played. Feel free to use as much rubato and improvisation. The cadenza has scope for as much ad lib as the soloist and accompanist want to give. The inspiration for the piece came from the menagerie of birds and animals that congregate in my back garden most of the year. I regularly sit and watch with great interest all the antics of these wonderful creatures.
$7.95 ≈
7.35€
Concert Piece for String Orchestra and Percussion
Concert Piece for String Orchestra and Percussion
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Classical
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Ivan H
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Concert Piece for String Orche
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Ivan Howard
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Drum Set,Percussion,Viola - Level 5 - Interactive Download SKU: A0.484898 Composed by Ivan H. Kurcz. This edition: Inter...
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Large Ensemble Cello,Double Bass,Drum Set,Percussion,Viola - Level 5 - Interactive Download SKU: A0.484898 Composed by Ivan H. Kurcz. This edition: Interactive Download. Classical. Score and parts. Duration 210. Ivan Howard #6a81xPENwbs5YndgEXuaW0. Published by Ivan Howard (A0.484898). Key: C major.All is in the name. With added percussion this is sure to be a festive Concert Piece for your students. While providing various sectional solis, various higher positions in the strings, playful pizzicato sections, jaunting melodies. Concert Piece for String Orchestra and Percussion is sure to be a new favorite among your students and audience members alike. Performance Notes: mm 3 & 4.- the pizzicato for the violas should not be too loud, even it's marked with an accent. Should blend in with the orchestra. Percussion should blend in. Be careful not to overpower orchestra. mm 7.- Even though this is a full 4 beat measure rest. This measure is to be counted as 1 beat. A slight Grand Pause (G.P.) mm 8-12.- Cello and Bass are soli here. Be careful no to overbear the violins and violas. mm. 33- Cellos have the counter melody and should slightly be heard over the orchestra. mm 56. - 1st & 2nd Violins- should play in the middle part of the bow. mm 57.- lower cellos and bass should play jauntily. With a strong slight broadened accent. mm 61-64.- Timpani 1 & 2, Toms and Bass Drum are to play wildly. Just not overpowering. mm 78-81.- Violas, Cellos and Bass are soli, here. 2nd Violins have the counter melody and should be heard behind the lower strings. 1st Violins are to play from frog to tip of the bow. mm 91.- All strings are to play from the frog to the tip of the bow. Alot of subito dynamics. This piece is meant to have fun. Hope you and your orchestra enjoy this as much as I did making it!
$5.99 ≈
5.54€
Serenade No. 11
Serenade No. 11
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Classical
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Wolfgang Amadeus Mozart
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Stephen Levintow
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Serenade No. 11
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Cypress Publishing
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SheetMusicPlus
String Quintet Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classic...
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String Quintet Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classical. 69 pages. Cypress Publishing #1026899. Published by Cypress Publishing (A0.1447120). Soon after moving to Vienna in 1781, Mozart wrote what turned out to be his last, and finest, three serenades for wind ensemble. He himself arranged the one in c minor, Köchel 388, for string quintet (2 violins, 2 violas and cello), and that version is known as K. 406. Most of the serenade in B-Flat Major, K 361, sometimes called Gran Partita or Serenade for 13 Instruments, was also arranged for the same quintet combination, apparently by someone else, with the movements divided up between Quintets No. 6 and 7 in the second volume of the standard Peters Edition set of parts for Mozart’s string quintets. The remaining serenade, K. 375, is appearing in a string quintet arrangement for the first time that I know of. While it does not have the dramatic intensity of K. 388/406 or the grand sweep of K. 361, it is a worthy companion to the other two works. He composed it “carefully”, as he explained in a letter to his father, and the piece is full of striking details that show this. In the first movement, the second subject is surprisingly in a dark minor key, and the development is based on it. But it does not appear in the recapitulation, replaced instead by a new major key theme. The first of the two minuets also has a brooding trio in minor. The heart of the work is the Adagio, one of Mozart’s great slow movements, and it should be better known. The long-spun overlapping melodies work particularly well for strings. The finale starts as a conventional Rondo, but breaks off into an extended fugal section (again starting in a minor key!) that gives the movement weight and power beyond a typical formula rondo. This arrangement transposes the original E-Flat Major to D Major, to take advantage of string sonority while making some of the passage work lie better for the instruments. Score and parts follow the current convention of listing the composer’s middle name as Amadeus, even though he did not favor it: His only recorded use was a letter he signed Wolfgangus Amadeus Mozartus, clearly intended as a joke. He preferred the Italian or French versions, Amadeo or Amadé, of his German given name Gottlieb (which he also rarely if ever used). CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites.The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$15.00 ≈
13.87€
Concert Piece for String Orchestra
Concert Piece for String Orchestra
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Classical
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Ivan H
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Concert Piece for String Orche
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Ivan Howard
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Viola - Level 5 - Interactive Download SKU: A0.484899 Composed by Ivan H. Kurcz. This edition: Interactive Download. Cla...
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Large Ensemble Cello,Double Bass,Viola - Level 5 - Interactive Download SKU: A0.484899 Composed by Ivan H. Kurcz. This edition: Interactive Download. Classical. Score and parts. Duration 209. Ivan Howard #15Zj6pJDY5MZUCd9nAaZoD. Published by Ivan Howard (A0.484899). Key: C major.Description: All is in the name. This is sure to be a festive Concert Piece for your students. While providing various sectional solis, various higher positions in the strings, playful pizzicato sections, jaunting melodies. Concert Piece for String Orchestra is sure to be a new favorite among your students and audience members alike. Performance Notes: mm 3 & 4.- the pizzicato for the violas should not be too loud, even it's marked with an accent. Should blend in with the orchestra. mm 7.- Even though this is a full 4 beat measure rest. This measure is to be counted as 1 beat. A slight Grand Pause (G.P.) mm 8-12.- Cello and Bass are soli here. Be careful no to overbear the violins and violas. mm. 33- Cellos have the counter melody and should slightly be heard over the orchestra. mm 56. - 1st & 2nd Violins- should play in the middle part of the bow. mm 57.- lower cellos and bass should play jauntily. With a strong slight broadened accent. mm 78-81.- Violas, Cellos and Bass are soli, here. 2nd Violins have the counter melody and should be heard behind the lower strings. 1st Violins are to play from frog to tip of the bow. mm 90.- All strings are to play from the frog to the tip of the bow. Alot of subito dynamics. This piece is meant to have fun. Hope you and your orchestra enjoy this as much as I did making it!
$5.99 ≈
5.54€
Lovely
Lovely
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Pop music
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Billie Eilish
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a do Ray me flute studio pro
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#
Lovely
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as do Ray meflute studio production
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SheetMusicPlus
Large Ensemble Choir,Flute,Orff Instrument,Voice - Level 3 - Digital Download SKU: A0.874274 By Billie Eilish. By Billie Eilish, Billie Eilish O'Connell,...
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Large Ensemble Choir,Flute,Orff Instrument,Voice - Level 3 - Digital Download SKU: A0.874274 By Billie Eilish. By Billie Eilish, Billie Eilish O'Connell, Finneas O'Connell, and Khalid Robinson. Arranged by a do Ray me flute studio production, Ray-Michael Kauffman. Pop. Score and parts. 41 pages. As do Ray meflute studio production #6865945. Published by as do Ray meflute studio production (A0.874274). LOVELYLovely by Billie Eilish, Khalid and Finneas O'Connell , from the tv show series 13 reasons Why arranged for flute choir by me, Ray-Michael Kauffman. This arrangement was written and dedicated to Professor Morgann E. Davis Parrish , Flute Professor at Millersville University, PA , and also dedicated to the Millersville University First Flute Day. This arrangement is also a special one in the fact that this is a Composition that Cares, meaning all money made from this goes to charity, for treatment of mental illness and trauma victims. To purchase and support this cause , please go to https://www.sheetmusicplus.com/publis... and check my website out at www.doRaymeflute.com ******* About the instrumental part scoring, this arrangement was created and intended for flutists of all ages and abilities, and levels , backgrounds and experience to be able to play this.Because of this musical arrangement being created and premiered for and at Millersville University’s First Flute Day on 4/2/2022 ( hosted and created by the incredible Flute Professor at Millersville U. Morgann E. Davis Parrish ), I knew I could enable and create parts for the instrumental scoring that could add more depth and texture, and interest to both the players and audience ( no matter what the flutist’s ability is – because every one should and can play in a flute ensemble and make great music with others and HAVE FUN!! =0)) The two added / extra special parts are Flute E-M and Flute H-C. Flute E-M or C flute part 6 stands for elementary or more beginner player. I have easy rhythms/ notes, key signature and note values and wanted them to experience some melody as reflected in the part. If there is something still tricky for the player, please modify their part so they can enjoy in performing. Flute H-C stands for high school and more advanced playing . High schoolers want more of a challenge, so I wanted to create something both with more complexity and interest, but with in their means of ability as hopefully I reflected here. https://youtu.be/dEz-6bZtzKk
$18.99 ≈
17.56€
Exaltabo Te
Exaltabo Te
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Orlando de Lassus
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Exaltabo Te
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Imagine Music - Digital
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SheetMusicPlus
3 bassoons & contrabassoon - Digital Download SKU: IZ.PDP226 Composed by Orlando de Lassus. Score and Parts. 10 pages. Imagine Music - Digital #PDP226. P...
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3 bassoons & contrabassoon - Digital Download SKU: IZ.PDP226 Composed by Orlando de Lassus. Score and Parts. 10 pages. Imagine Music - Digital #PDP226. Published by Imagine Music - Digital (IZ.PDP226). 9 x 12 in inches.Exaltabo Te (I Exalto You, 0 Lord) is one of Lassus's most beautiful motets. The text is the Offertory for Ash Wednesday and is taken from Psalm 29, or No. 30, depending on your denomination: I will exalt You, 0 Lord for You have sustained me and prevented my enemies from rejoicing over me: 0 Lord, I have cried unto You and You have healed me. I firmly believe that transcriptions of Renaissance masterpieces should be used in seminars, masterclasses, or Double Reed Day situations. In addition to exposing the performers to the beauties of repertoire with which they may not be familiar, study of this music provides many benefits which can not help but contribute to a player's growth as a musician. Works from this era will help develop a strong sense of rhythm and metrical pulse, as well as forcing players to accurately count their own part. As the lines are independently conceived, each player must shape their individual phrases, promoting expressive musicianship. Lastly and perhaps most importantly, these compositions will quickly expose intonation deficiencies and will necessitate a careful approach to linear intonation as well as tuning vertical intervals.
$8.00 ≈
7.40€
And The Waltz Goes On
And The Waltz Goes On
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Contemporary
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Anthony Hopkins
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James Pybus
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And The Waltz Goes On
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James Pybus
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.764739 Composed by Anthony Hopkins. Arranged by Jam...
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.764739 Composed by Anthony Hopkins. Arranged by James Pybus. Contemporary. 30 pages. James Pybus #6384403. Published by James Pybus (A0.764739). Welsh actor, director, film producer and composer Anthony Hopkins has won many awards in his long career, including two Academy Awards, four BAFTAs, two Emmys and the Cecil B. Demille Award. In 1993 he was knighted by Queen Elizabeth II for his services to the arts. In a 2012 interview, Hopkins stated, I've been composing music all my life and if I'd been clever enough at school, I would like to have gone to music college. As it was, I had to settle for being an actor. His compositions cover a wide range of genres. And The Waltz Goes On dates from 1964 but was not performed until 2011 when André Rieu and his orchestra premiered the piece in Vienna. This arrangement for SSAB or SSSB Clarinet Quartet is suitable for a variety of programs and concert settings. It is both challenging and rewarding to play and should appeal to a wide audience. Duration is 5:20. Contact me at james.pybus56@gmail.com.
$19.99 ≈
18.48€
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