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Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
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C Instruments
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EASY
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Renaissance
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Various
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563-...
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C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.
Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.
I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.
At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at
https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS
As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.
$11.46 ≈
£8.90
Shall We Gather at the River (for Violin Duet with Piano accompaniment)
Shall We Gather at the River (for Violin Duet with Piano accompaniment)
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Violin and Piano
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INTERMEDIATE
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Sacred music
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Sharon Wilson
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Sharon Wilson
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VIOLIN 2 ~ G3 to C5
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Shall We Gather at the River
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Sharon Wilson
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.565820 By Sharon Wilson. By Robert Lowry. Arranged by Sharon ...
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.565820 By Sharon Wilson. By Robert Lowry. Arranged by Sharon Wilson. Christian,Praise & Worship,Romantic Period,Sacred,Traditional. 13 pages. Sharon Wilson #6258667. Published by Sharon Wilson (A0.565820). This bright and encouraging hymn by Robert Lowry is arranged as an instrumental trio (for two VIOLINS with PIANO accompaniment). VIOLIN 1 leads with the melody throughout, but VIOLIN 2 has plenty of movement to make it interesting and also gets to play melody for the last phrase of each verse. An optional repeat and second ending is included in case a longer song is desired. This joyful and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition for your ensemble sacred repertoire. Duration 2:00 with the repeat.The range for each string part is as follows: VIOLIN 1 ~ F#4 to G5; VIOLIN 2 ~ G3 to C5. All notes for both the VIOLIN parts are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player.The purchase price includes these printing options: 1. a grand staff (5 pages) with all parts on each page2. separate scores for each VIOLIN (1 page each) and PIANO (2 pages)3. a combined VIOLIN 1 and VIOLIN 2 score (2 pages) This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 2 (Collection of 10 Hymns for Violin Duet with Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99 ≈
£4.65
Get Down Tonight
Get Down Tonight
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Contemporary
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K
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Ben Trigg
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Get Down Tonight
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OlivePress Music
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SheetMusicPlus
Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Digital Download SKU: A0.1002407 By K.C. And The Sunshine Band. By Harry Wayne Casey and Richard Finch....
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Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Digital Download SKU: A0.1002407 By K.C. And The Sunshine Band. By Harry Wayne Casey and Richard Finch. Arranged by Ben Trigg. Contemporary. 7 pages. OlivePress Music #6645623. Published by OlivePress Music (A0.1002407). Chord chart with horn cues for the band leader, and parts for Alto and Tenor Sax, Trumpet in Bb and Trombone (not all parts need to be covered to make an effective horn section). These charts are intended for use in function bands where the band leader can call the arrangements on the fly, therefore exact structures are not always fully represented, but often indicated through general verbal instructions. Used in real life with my function band, the staff size is great for low-light situations on paper or for displaying on a tablet smaller than A4.Find the complete 'For Pop Covers' catalogue from OlivePress Music at https://olivepressmusic.com/for-pop-covers/
$12.99 ≈
£10.09
Get Lucky
Get Lucky
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Pop music
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Daft Punk Featuring Pharrell W
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Ben Trigg
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Get Lucky
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OlivePress Music
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SheetMusicPlus
Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1002410 By Daft Punk Featuring Pharrell Williams. By Guy Manuel Home...
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Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1002410 By Daft Punk Featuring Pharrell Williams. By Guy Manuel Homem Christo, Nile Rodgers, Pharrell, and Thomas Bangalter. Arranged by Ben Trigg. Contemporary. 7 pages. OlivePress Music #6645639. Published by OlivePress Music (A0.1002410). Chord chart with horn cues for the band leader, and parts for Alto and Tenor Sax, Trumpet in Bb and Trombone (not all parts need to be covered to make an effective horn section). These charts are intended for use in function bands where the band leader can call the arrangements on the fly, therefore exact structures are not always fully represented, but often indicated through general verbal instructions. Used in real life with my function band, the staff size is great for low-light situations on paper or for displaying on a tablet smaller than A4.Find the complete 'For Pop Covers' catalogue from OlivePress Music at https://olivepressmusic.com/for-pop-covers/
$12.99 ≈
£10.09
My Song Shall Be of Thee (for FLUTE and/or VIOLIN Duet with PIANO Accompaniment)
My Song Shall Be of Thee (for FLUTE and/or VIOLIN Duet with PIANO Accompaniment)
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Piano Accompaniment
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson and Sharon Wilso
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Part 2 (VIOLIN) ~ D4 to G5
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My Song Shall Be of Thee
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Sharon Wilson
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SheetMusicPlus
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1272501 By Sharon Wilson. By D. S. Hakes and DS Hakes. ...
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1272501 By Sharon Wilson. By D. S. Hakes and DS Hakes. Arranged by Sharon Wilson and Sharon Wilson Music. 20th Century,Christian,Easter,Praise & Worship,Sacred. 22 pages. Sharon Wilson #864726. Published by Sharon Wilson (A0.1272501). Here is a flowing instrumental trio arrangement (for FLUTE and/or VIOLIN duet with PIANO accompaniment) of a beautiful hymn from the early 1900's titled My Song by D. S. Hakes. The original lyrics were inspired by the following Bible verse: The Lord is my strength and song. Psalm 118:14. This hymn may be better known by its Spanish title Mi Redentor es Cristo (O Jesus, my Redeemer) when used with lyrics translated by Edgar L. Maxwell. The original lyrics by F. E. Belden are shown below.Both the FLUTE and the VIOLIN get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The FLUTE plays the melody for the first verse and then the two instruments alternate for the second verse. The VIOLIN leads with the melody for the third verse. The song begins in the key of C major for the first two verses, then transitions to the key of G major during the piano interlude before the final verse.Though notated with FLUTE on part 1 and VIOLIN on part 2, the ranges are also accessible for other combinations of C instruments such as 2 VIOLINS or 2 FLUTES. The range for each part is as follows: Part 1 (FLUTE) ~ G4 to B5; Part 2 (VIOLIN) ~ D4 to G5. For the violin on either part, all notes are playable in the first position making this piece an excellent choice for early intermediate string players. Duration 3:00.The purchase price includes these printing options: 1. a grand staff (9 pages) with all parts on each page2. separate scores for the FLUTE and VIOLIN (2 pages each) and PIANO (4 pages)3. a combined FLUTE and VIOLIN score (3 pages)Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicLyrics by F. E. Belden Verse 1:O Jesus, my Redeemer, Thou art my Joy and Song,My Saviour and my Solace when griefs around me throng.Chorus:O Jesus, my Redeemer, My song shall be of thee;No other Friend so constant, no friend so dear to me.Verse 2:Thou art my Hope and Comfort through all the weary years,When shadows dark surround me, when all the bitter tears.Verse 3:I trust in Thee, my Saviour, My faithful Friend and Guide;For thou to me art dearer than all on earth beside.
$5.99 ≈
£4.65
The Home Coming March (1908) - Concert Band Score and Parts PDF
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00 ≈
£23.30
Take Time to Be Holy (Violin and Cello Duet with Piano accompaniment)
Take Time to Be Holy (Violin and Cello Duet with Piano accompaniment)
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Piano Accompaniment
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EASY
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George C
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Sharon Wilson
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Take Time to Be Holy
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Sharon Wilson
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SheetMusicPlus
Small Ensemble Cello,Piano Accompaniment,Piano and Keyboard,Violin - Level 2 - Digital Download SKU: A0.1050445 By George C. Stebbins and Sharon Wilson. ...
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Small Ensemble Cello,Piano Accompaniment,Piano and Keyboard,Violin - Level 2 - Digital Download SKU: A0.1050445 By George C. Stebbins and Sharon Wilson. By George C. Stebbins and William D. Longstaff. Arranged by Sharon Wilson. Folk,Praise & Worship,Romantic Period,Sacred,Traditional. Score and parts. 17 pages. Sharon Wilson #654800. Published by Sharon Wilson (A0.1050445). Here is an instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment) of the familiar hymn Take Time to Be Holy by George C. Stebbins. This gently flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by William D. Longstaff: Take time to be holy, speak oft with thy Lord; Abide in Him always, and feed on His Word. Make friends of God's children, help those who are weak, Forgetting in nothing His blessing to seek. All three instruments lead with the melody at times, even the PIANO. The VIOLIN plays the melody for the first verse and then all three instruments alternate playing the melody for the second verse and ending tag. This flowing instrumental arrangement is an ideal selection for a worship setting and a valuable addition to your sacred string repertoire. Duration 2:00. The range for each part is as follows: VIOLIN – F#4 to B5; CELLO – B2 to D4. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (3 pages)3. a combined VIOLIN and CELLO score (2 pages) This hymn represents KINDNESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin and Cello Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
£4.65
Shall We Gather at the River (Violin and Cello Duet with Piano accompaniment)
Shall We Gather at the River (Violin and Cello Duet with Piano accompaniment)
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Piano Trio: piano, violin, cello
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INTERMEDIATE
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Sacred music
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Sharon Wilson
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Sharon Wilson
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CELLO ~ D3 to D4
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Shall We Gather at the River
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Sharon Wilson
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565816 By Sharon Wilson. By Robert Lowry. Arranged by Sharon Wilson. Christian,Praise ...
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Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565816 By Sharon Wilson. By Robert Lowry. Arranged by Sharon Wilson. Christian,Praise & Worship,Romantic Period,Sacred,Traditional. 13 pages. Sharon Wilson #6257209. Published by Sharon Wilson (A0.565816). This bright and encouraging hymn by Robert Lowry is arranged as an instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment). The VIOLIN leads with the melody throughout, but the CELLO has plenty of movement to make it interesting and also gets to play melody for the last phrase of each verse. An optional repeat and second ending is included in case a longer song is desired. This joyful and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition for your ensemble sacred repertoire. Duration 2:10 with the repeat.The range for each string part is as follows: VIOLIN ~ F#4 to G5; CELLO ~ D3 to D4. For both the VIOLIN and CELLO, all notes are playable in the first position making this piece an excellent choice for early intermediate string players.The purchase price includes these printing options: 1. a grand staff (5 pages) with all parts on each page2. separate scores for the CELLO and VIOLIN (1 page each) and PIANO (2 pages)3. a combined CELLO and VIOLIN score (2 pages) This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 2 (Collection of 10 Hymns for Violin, Cello, and Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99 ≈
£4.65
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
£18.63
Take Time to Be Holy (Violin Duet with Piano accompaniment)
Take Time to Be Holy (Violin Duet with Piano accompaniment)
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Violin and Piano
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson
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Take Time to Be Holy
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Sharon Wilson
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1046278 By Sharon Wilson. By George C. Stebbins and William D...
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1046278 By Sharon Wilson. By George C. Stebbins and William D. Longstaff. Arranged by Sharon Wilson. 20th Century,Folk,Praise & Worship,Sacred. Score and parts. 17 pages. Sharon Wilson #650784. Published by Sharon Wilson (A0.1046278). Here is an instrumental trio (for two VIOLINS with PIANO accompaniment) of the familiar hymn Take Time to Be Holy by George C. Stebbins. This gently flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by William D. Longstaff: Take time to be holy, speak oft with thy Lord; Abide in Him always, and feed on His Word. Make friends of God's children, help those who are weak, Forgetting in nothing His blessing to seek. All three instruments lead with the melody at times, even the PIANO. VIOLIN 1 plays the melody for the first verse and then all three instruments alternate playing the melody for the second verse and ending tag. This flowing instrumental arrangement is an ideal selection for a worship setting and a valuable addition to your sacred string repertoire. Duration 2:00. The range for each part is as follows: VIOLIN 1 – F#4 to B5; VIOLIN 2 – A3 to E5. All notes for both VIOLINS are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for each VIOLIN part (2 pages each) and PIANO (3 pages)3. a combined VIOLIN 1 and VIOLIN 2 score (2 pages) This hymn represents KINDNESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin Duet with Piano Accompaniment)Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
£4.65
My Song Shall Be of Thee (for VIOLIN and CELLO Duet with PIANO Accompaniment)
My Song Shall Be of Thee (for VIOLIN and CELLO Duet with PIANO Accompaniment)
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Piano Trio: piano, violin, cello
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson and Sharon Wilso
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CELLO ~ G2 to D4
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My Song Shall Be of Thee
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Sharon Wilson
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1272842 By Sharon Wilson. By D. S. Hakes, DS Hakes, and F. E. Belden. Arranged by Shar...
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Piano Trio Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1272842 By Sharon Wilson. By D. S. Hakes, DS Hakes, and F. E. Belden. Arranged by Sharon Wilson and Sharon Wilson Music. 20th Century,Christian,Easter,Praise & Worship,Sacred. 22 pages. Sharon Wilson #865039. Published by Sharon Wilson (A0.1272842). Here is a flowing instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of a beautiful hymn from the early 1900's titled My Song by D. S. Hakes. The original lyrics were inspired by the following Bible verse: The Lord is my strength and song. Psalm 118:14 This hymn may be better known by its Spanish title Mi Redentor es Cristo (O Jesus, my Redeemer) when used with lyrics translated by Edgar L. Maxwell. The original lyrics by F. E. Belden are shown below.Both the VIOLIN and the CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The song begins in the key of C major for the first and second verses, then transitions to the key of G major during the piano interlude before the third and final verse.The range for each part is as follows: VIOLIN ~ G4 to B5; CELLO ~ G2 to D4. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player.  Duration 3:00.The purchase price includes these printing options: 1. a grand staff (9 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (4 pages)3. a combined VIOLIN and CELLO score (3 pages)Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicLyrics by F. E. Belden Verse 1:O Jesus, my Redeemer, Thou art my Joy and Song,My Saviour and my Solace when griefs around me throng.Chorus:O Jesus, my Redeemer, My song shall be of thee;No other Friend so constant, no friend so dear to me.Verse 2:Thou art my Hope and Comfort through all the weary years,When shadows dark surround me, when all the bitter tears.Verse 3:I trust in Thee, my Saviour, My faithful Friend and Guide;For thou to me art dearer than all on earth beside.
$5.99 ≈
£4.65
I'm Getting Sentimental Over You
I'm Getting Sentimental Over You
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Contemporary
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George Bassman
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Dr
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I'm Getting Sentimental Over Y
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Michael McDonough A.S.C.A.P.
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SheetMusicPlus
Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.965458 Composed by George Bassman. Arranged by Dr. Michael C. McDonough A.S.C.A.P. Contempor...
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Brass Ensemble Trombone - Level 3 - Digital Download SKU: A0.965458 Composed by George Bassman. Arranged by Dr. Michael C. McDonough A.S.C.A.P. Contemporary. Score and parts. 10 pages. Michael McDonough A.S.C.A.P. #5320639. Published by Michael McDonough A.S.C.A.P. (A0.965458). In this arrangement of a trombone classic all tenor trombones get a chance to play lead. The melody goes to an A above the staff. A good High School quartet should be able to get this to a performance. .
$12.99 ≈
£10.09
Close to Thee (for Violin and Cello Duet with Piano accompaniment)
Close to Thee (for Violin and Cello Duet with Piano accompaniment)
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Piano Trio: piano, violin, cello
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INTERMEDIATE
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Sharon Wilson
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Sharon Wilson
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CELLO ~ B2 to D4
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Close to Thee
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Sharon Wilson
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SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565814 By Sharon Wilson. By Fanny J. Crosby and Silas J. Vail. Arranged by Sharon Wils...
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Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565814 By Sharon Wilson. By Fanny J. Crosby and Silas J. Vail. Arranged by Sharon Wilson. Easter,Lent,Praise & Worship,Sacred,Wedding. 15 pages. Sharon Wilson #6257185. Published by Sharon Wilson (A0.565814). The beloved hymn by Silas J. Vail (words by Fanny Crosby) is presented here as a flowing, peaceful instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment). Both the CELLO and the VIOLIN get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The VIOLIN plays the melody for the first verse and the CELLO leads with the melody for the second verse. This beautiful, inspiring instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred string ensemble repertoire. Duration 2:15.The range for each part is as follows: VIOLIN ~ D4 to F#5; CELLO ~ B2 to D4. For both the VIOLIN and CELLO, all notes are playable in the first position making this piece an excellent choice for early intermediate string players.The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for the CELLO and VIOLIN (1 page each) and PIANO (3 pages)3. a combined CELLO and VIOLIN score (2 pages) This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 2 (Collection of 10 Hymns for Violin, Cello, and Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99 ≈
£4.65
HALLOWEEN: In The Hall Of The Mountain King for school ensembles - Mixed Abilities Classroom and School Ensemble Piece
HALLOWEEN: In The Hall Of The Mountain King for school ensembles - Mixed Abilities Classroom and School Ensemble Piece
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School Ensemble
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EASY
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Classical
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Edvard Grieg
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Austin Ralphson
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HALLOWEEN: In The Hall Of The
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SheetMusicPlus
Composed by Edvard Grieg (1843-1907). Arranged by Austin Ralphson. Romantic Period, Repertoire, Classroom, Halloween, Recital. Score, Set of Parts. 77 page...
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Composed by Edvard Grieg (1843-1907). Arranged by Austin Ralphson. Romantic Period, Repertoire, Classroom, Halloween, Recital. Score, Set of Parts. 77 pages. Published by Austin Ralphson
The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble. The pieces in this series have been arranged into 10 different parts which cater for the large majority of musicians within school. These include: * a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas * easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players * very easy violin and viola parts on open strings only * piano parts * ukulele part in tab, chord patterns and chord letters * guitar part in tab, chord patterns and chord letters * general chord plan in chord letters Teachers / band leaders can select the parts which are most appropriate for their students.
$6.99 ≈
£5.43
They Came Here to Dance (Swing Band Arrangement)
They Came Here to Dance (Swing Band Arrangement)
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Jazz Ensemble
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INTERMEDIATE/ADVANCED
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Mike Strand, ASCAP
T
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Mike Strand
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They Came Here to Dance
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Michael M. Strand
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Mich...
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4890111. Published by Michael M. Strand (A0.970736). By Mike Strand, ASCAPThis is the full score, plus scores for three groups of parts, for a full arrangement of a swing tune for piano, bass, saxophone, trumpet, trombone, and two singers. After the cover, there are 21 pages of music: Ten pages for the full score; four pages for the group of blowing instruments (alto saxophone, B flat trumpet, and trombone); four pages for the piano and bass; and three pages for the two singers. Grouping the parts in this manner is natural and advantageous for this particular swing composition. These part groupings will help players in a group coordinate with each other from their group score. This is an excellent compromise between everyone working from the full score, and each player having a score with just the player’s individual part. The audio sample plays the full score.This product solves a problem that any composer of new jazz music faces: Unlike the popular standards, there aren’t any well-known and often-heard arrangements for a band to emulate. As the composer with only a lead sheet, I would have to convince your band to develop an arrangement from scratch, starting from nothing but the lead sheet! With so many attractive standard swing tunes to perform, a busy band may hesitate to put extra effort into an unknown tune. Problem solved! With this full arrangement of They Came Here to Dance, a band can better see and hear the tune’s full potential. It will be easier for a band to make any modifications to suit its particular mix of musicians and to better fit its style. With this arrangement, with written score, part group scores and audio sample, it will be as easy as working from the recording and score of a popular standard. All that’s missing from this arrangement is the percussion, because of the individuality of drummers. The band only needs a skilled jazz drummer to join in easily with this arrangement. Here are the lyrics to They Came Here to Dance: 1.You may come here to eat and to drink.Lots of chins wag, and wine glasses clink. Well, that’s all good, but here’s what I think: They came here to dance! 2. We cats up front have to check our sound mix. Then they walk in, togged to the bricks. They have the moves to show off our licks. They came here to dance! Bridge – Instrumental section, followed by: Our band’s in the groove – here’s one reason why: The doghouse amps are turned up high. They get in there, and tear up the floor! And they don’t care if their feet get sore. 3. Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not. They came here to dance!4. Bridge again, then:Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not.They have the learning to, they have a yearning to,They came here to dance! Note Some words in these lyrics are taken from Cab Calloway Slang: Light up – smoke a stick (marijuana cigarette) Doghouse - bass Get in there - go to work, get busy, make it hot, give it all you got Bustin’ our conks – breaking our necks (applying ourselves diligently) Wren – a chick, a queen (beautiful girl) Cat – musician in swing band Togged to the bricks – dressed to kill, from head to toe Licks – hot musical phrases In the groove – perfect, down the alley .
$8.00 ≈
£6.21
Father, Lead Me Day by Day (for 8-note Bells and Boomwhackers® with Black and White Notes)
Father, Lead Me Day by Day (for 8-note Bells and Boomwhackers® with Black and White Notes)
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Sharon Wilson
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Sharon Wilson
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Father, Lead Me Day by Day
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Sharon Wilson
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SheetMusicPlus
Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Orff Instrument,Ukulele,Voice,Xylophone - Level 2 - Digital Download SKU: A0.565368 By Sharon Wilson. ...
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Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Orff Instrument,Ukulele,Voice,Xylophone - Level 2 - Digital Download SKU: A0.565368 By Sharon Wilson. By Georg C. Strattner. Arranged by Sharon Wilson. Children,Classical,Sacred,Traditional. 11 pages. Sharon Wilson #4280711. Published by Sharon Wilson (A0.565368). This arrangement is one of the 12 songs in the collection Twelve More Classic Hymns for 8-note Bells and Boomwhackers®This sheet music is notated for 8-note, C major diatonic scale (one octave) instruments with Handbells on one staff and Boomwhackers® on a second staff creating a 2-part instrumental ensemble (requires one set of each instrument). Handbells play the melody while the Boomwhackers® keep a steady beat with three-note chords. Included in this set of scores is a combined score with both instrument parts on a grand staff plus a separate score for each instrument. A note and chord chart is also provided to aid in the learning and teaching of this song. Lyrics are provided as well for sing along enjoyment. This arrangement includes two verses. The first verse is easy with fewer notes. The second verse is intermediate and expands the melody by adding more notes. If you want to learn (practice) only the easy verse, an optional ending is provided or it can be skipped to perform the two verses together. This set of scores uses black and white noteheads and is best suited for musicians already familiar with reading standard music notation. For beginning musicians, this same set of scores is available (sold separately) with color coded noteheads.Only filled noteheads (quarter and eighth notes) are used so the notes are easier to see (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter rests are used to help visualize the number of beats per measure.Though this sheet music is notated for Handbells and Boomwhackers®, this arrangement is playable by any 8-note, C major diatonic scale (one octave) instrument such as a xylophone or glockenspiel.The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two notes. For beginners, it is best to assign one note to each person. Note assignment suggestions are included.Other suggestions and uses: * have both parts played by bells or both parts played using only Boomwhackers®   * form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate)* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission. Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
£4.65
All Creatures of Our God and King (for Violin Duet)
All Creatures of Our God and King (for Violin Duet)
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2 Violins (duet)
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EASY
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Sharon Wilson
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Sharon Wilson
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All Creatures of Our God and K
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Sharon Wilson
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SheetMusicPlus
Violin Duet Violin - Level 2 - Digital Download SKU: A0.565697 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Folk,Holiday,Renaissance,Sacr...
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.565697 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Folk,Holiday,Renaissance,Sacred,Traditional. 5 pages. Sharon Wilson #5727793. Published by Sharon Wilson (A0.565697). Here is an easy instrumental duet arrangement (for 2 VIOLINS) of the classic hymn tune LASST UNS ERFREUEN which is usually associated with the lyrics by St. Francis of Assisi All Creatures of Our God and King. This song is fun for both parts and is always a welcome addition to recitals and worship services throughout the year, but especially during the Thanksgiving season.VIOLIN 1 leads with the melody for most of the song, but VIOLIN 2 gets to lead with the melody a few times scattered throughout the piece. An optional repeat is provided in case a longer musical selection is needed. All notes for both VIOLIN parts are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 2-page combined score with both parts on each page plus separate 1-staff scores for each VIOLIN (1 page each).This arrangement is one of the 10 songs in the collection Easy String Duets: Thanksgiving Hymns (A Collection of 10 Violin Duets).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicKeywords: Thanksgiving, Praise and Worship, Thanksgiving Music, Thanksgiving Songs, Thanksgiving Hymns, praise music, worship service, meditation, devotion, devotional music, invitation, prelude, offertory
$4.99 ≈
£3.88
All Creatures of Our God and King (Easy Violin and Cello Duet)
All Creatures of Our God and King (Easy Violin and Cello Duet)
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Violin, Cello (duet)
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EASY
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Sharon Wilson
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Sharon Wilson
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All Creatures of Our God and K
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Sharon Wilson
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.565582 By Sharon Wilson. By St. Francis of Assisi. Arranged by Sharon Wilson. Folk,Ho...
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Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.565582 By Sharon Wilson. By St. Francis of Assisi. Arranged by Sharon Wilson. Folk,Holiday,Praise & Worship,Renaissance,Sacred. 5 pages. Sharon Wilson #4852091. Published by Sharon Wilson (A0.565582). Here is an easy instrumental duet arrangement (for VIOLIN and CELLO) of the classic hymn tune LASST UNS ERFREUEN which is usually associated with the lyrics by St. Francis of Assisi All Creatures of Our God and King. This song is fun for both parts and is always a welcome addition to recitals and worship services throughout the year, but especially during the Thanksgiving season.The VIOLIN leads with the melody for most of the song, but the CELLO gets to lead with the melody a few times scattered throughout the piece. An optional repeat is provided in case a longer musical selection is needed. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 2-page combined score with both parts on each page (VIOLIN and CELLO) plus separate 1-staff scores for the VIOLIN and CELLO (1 page each).
$4.99 ≈
£3.88
Ugetsu
Ugetsu
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C Instruments
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ADVANCED
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Jazz
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Cedar Walton
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Rob Ames
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Ugetsu
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Rob Ames
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SheetMusicPlus
C Instrument - Level 5 - Digital Download SKU: A0.1395057 Composed by Cedar Walton. Arranged by Rob Ames. Jazz. Lead Sheet / Fake Book. 6 pages. Rob Ames...
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C Instrument - Level 5 - Digital Download SKU: A0.1395057 Composed by Cedar Walton. Arranged by Rob Ames. Jazz. Lead Sheet / Fake Book. 6 pages. Rob Ames #978524. Published by Rob Ames (A0.1395057). Color-coded Lead Sheets for Jazz Combo. Separate lead sheets for Concert instruments and Bb instruments included with purchase. Color allows quick understanding of the sections and form of the tune, the rhythmic hits, and the counter-melodies. Special care has been taken to clearly indicate intros, sections, solos, and codas/outros. These form-based markings are in GREEN.  Special care has also been taken to notate the rhythmic hits. Hits are often partially or completely missing from standard fake book versions of the tune. Hits are notated above the staff, in RED. Finally, any counter-melodies or harmonies appear in reduced size, in BLUE.Melodies often written in straight rhythm in standard fake books have been rewritten in a swing style, or “As Played By†some of the all-time jazz greats. Some of the tunes have been transposed from their standard fake book keys to an easier, better-sounding key for Bb saxophone.Slurs have been added to all the Bb parts for smooth and consistent jazz articulation on the Bb saxophone. A duplicate Bb part, without the slurs, is also included (marked with an asterisk for Bb* Instruments), for Bb players who would prefer to customize their own articulation.All tunes have been vetted for playability and accuracy.The arranger, Rob Ames, is a soprano saxophone player from New Hampshire and the Boston, MA area. His album of original tunes, “Sounds From the Boardwalkâ€, is widely available.
$4.99 ≈
£3.88
Deck The Halls for school ensembles - Mixed Abilities Classroom and School Ensemble Piece
Deck The Halls for school ensembles - Mixed Abilities Classroom and School Ensemble Piece
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Concert band
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EASY
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Christmas
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Welsh Traditional
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Austin Ralphson
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Deck The Halls for school ense
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Austin Ralphson
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.569836 Composed by Welsh Traditional. Arranged by Austin Ralphson. Christmas,Instructional,Standards. S...
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Concert Band - Level 2 - Digital Download SKU: A0.569836 Composed by Welsh Traditional. Arranged by Austin Ralphson. Christmas,Instructional,Standards. Score and parts. 50 pages. Austin Ralphson #4804609. Published by Austin Ralphson (A0.569836). The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble. The Christmas pieces in this series have been arranged into 13 different parts which cater for the large majority of musicians within school. These include: * a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas * easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players * very easy violin and viola parts on open strings only * easy and standard piano parts * ukulele part in tab, chord patterns and chord letters * guitar part in tab, chord patterns and chord letters * general chord plan in chord letters Teachers / band leaders can select the parts which are most appropriate for their students. The music is intended to be repeated a number of times, with different parts coming in and out for each repeat to create variety.Printing and CopyingThe purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.
$8.99 ≈
£6.98
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All parts get to play lead
