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Fill Me Up century
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19 sheet music found
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1
Peel Me A Grape
Peel Me A Grape
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Dave Frishberg
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John Fries
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Peel Me A Grape
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1208056 Composed by Dave Frishberg. Arranged by John Fries. 20th Century,Blues,Jazz,Standar...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1208056 Composed by Dave Frishberg. Arranged by John Fries. 20th Century,Blues,Jazz,Standards. Score. 2 pages. John Fries #806183. Published by John Fries (A0.1208056). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. The first recorded use of the term was by Mae West in the 1933 film I'm no Angel: Beulah, peel me a grape.  Here's how to talk about peel me a grape!  “Daaaahlings I say, please refill my glass and peel me a grape .† She grinned and mugged it up for us gathered proletariat.  It is most often used as a sarcastic retort to a trivial request.  The song Peel Me a Grape was written by Dave Frishberg and was first released by Anita O'Day - Cal Tjader in 1962.  It was covered by Pam Bricker, Gill Manly, Karen Gallinger, Paula West and others.
$4.99 ≈
$6.72
Fly Me To The Moon (in Other Words)
Fly Me To The Moon (in Other Words)
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Ukulele
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INTERMEDIATE
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Tony Bennett
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Daniel Dombrowski
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Fly Me To The Moon
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Daniel Dombrowski
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SheetMusicPlus
Ukulele - Level 3 - Digital Download SKU: A0.1206563 By Tony Bennett. By Bart Howard. Arranged by Daniel Dombrowski. 20th Century,Film/TV,Jazz. Score. 2 ...
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Ukulele - Level 3 - Digital Download SKU: A0.1206563 By Tony Bennett. By Bart Howard. Arranged by Daniel Dombrowski. 20th Century,Film/TV,Jazz. Score. 2 pages. Daniel Dombrowski #804750. Published by Daniel Dombrowski (A0.1206563). **NOTE: This arrangement is written for ukulele in low G tuning.**An intermediate/advanced-intermediate chord melody arrangement of the classic song, arranged to introduce students to the song and then challenge them to have some fun with it. The first verse is fairly faithful to the original melody, with a few simple rythmic fills to cover open measures. The second verse utilizes 16th-note runs and chords further up the neck to add interest, mimic the building intenity of the big band in classic recordings, and challenge the student.The piece sounds great at a relaxed tempo but can be sped up for more of a challenge. It is presented in standard notation with tablature and chord names aboves the staff.
$4.99 ≈
$6.72
Ragtime Miniatures for Two Flutes - Set 2
Ragtime Miniatures for Two Flutes - Set 2
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2 Flutes (duet)
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INTERMEDIATE
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Ragtime
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Pat Holmberg
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Ragtime Miniatures for Two Flu
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Patricia Tanttila Holmberg
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SheetMusicPlus
Flute - Intermediate - Digital Download Composed by Pat Holmberg. 21st Century, Ragtime, Repertoire. Score. 24 pages. Published by Patricia Tanttila ...
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Flute - Intermediate - Digital Download Composed by Pat Holmberg. 21st Century, Ragtime, Repertoire. Score. 24 pages. Published by Patricia Tanttila Holmberg
Here are fourteen ragtime style flute duets - very contrapuntal - equally challenging and fun in both parts - sure to help teenage flute students keep on with their lessons! Below, find some reviews by flute teachers:Here are some reviews for these duets from flute teachers: ByDr. Mom on November 19, 2013 As a flute teacher, I watch for new and interesting music for my students. These Rags are terrific! They are harmonically and musically interesting, introduce a style to the students with which they may be unfamiliar yet has a "jazzy" feel, and are simple enough in range, rhythm and length (they're relatively brief) to be approachable to the intermediate student - a level at which one often needs interesting music to keep them going! - and above. I had one student who is versed in jazz (plays jazz trumpet) who tried to swing these, so I had the opportunity to work with him on how Rags differ from "swung" jazz, which was kind of fun. I feel these duets fill a need in the modern flute studio, and recommend them highly. Something to Rag about - for students & performers a-like! By Em on November 16, 2013 This 12-piece book is a delightful introduction to ragtime for flutists, who usually don't get the chance to play much jazz or "rag" music. What I perhaps enjoy most about the book is, the 2nd flute part has many chances for nice melodic interplay or fun walking bass lines to accompany the 1st flute. (Unlike many duet books that have a rather stagnant bass line for the 2nd flute/accompaniment.) If you are playing with students who are new to the territory, it is a great book to have them develop an ear for jazz chords. You'll need to review how to swing eighths, since that isn't covered here --it's for Intermediate players after all :). The lines should not be incredibly challenging though, and it is presented in such a way that whether up or down tempo, it's still fun to play. I did like playing most of the pieces up-tempo, though! My top favorite pieces are #5- "Forget-Me-Not", #6 - "Cotton Candy Rag", #11 - "High Country Stomp" (it's nice got a nice lilting feel) and #12- "Green Mountain Saunter." There is a great variety, and each piece has a memorable melody. Grab a flutist friend and play these! If you like to have up-beat and playful tunes (especially during these cold winter months) these will warm you up real fast. Hi Patricia,The Ragtime Miniatures for Two Flutes – Set 1 Intermediate by Patricia Holmberg lends itself to development in rhythmic and reading skills. It offers studies of syncopated rhythms in 4/4 and 12/8. The 12/8 duets support improvement in the student’s triple feel. Also, the changes in meter challenge and support the enhanced reading skills of the student. Furthermore, the chromatic tones offer stylistic colors to the student’s assortment of fingering patterns. Students using the book had a positive response to the melodic content: it was fun to play—a breath of fresh air.Thank you for bringing your book to my attention. We await set two. Phyllis G. Ragtime Miniatures- Intermediate By Jean A. E. on November 7, 2013 This is Intermediate level music, it can satisfy several levels of players, and altho rags come over stylistically the same , these are varied enough . Except for mostly using flat key signatures, and having some confusion in finding your way around repeats and da capos, these are pleasant little works, some of which would make nice concert encores. The only feature I as a performer corrected when my friend and I played them thru was to 8 va some of the too low 2nd parts. Doing this seemed to improve the voicing.So In general, nice work,Pat!!Professional Flutist/ performer Jean A. "Back to School 2015".
$9.99 ≈
$13.46
Three Latin Elegies to Lesbia
Three Latin Elegies to Lesbia
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Choral SATB
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INTERMEDIATE
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Contemporary
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music...
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Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.
Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.
Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:
Lesbia keeps insulting me in front of her husband:
thisfills the fatuous idiot with delight.
Mule, doyou perceive nothing? If she shut up and ignored me
that’dshow healthy indifference;…
In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.
Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
$4.99 ≈
$6.72
The Horse of Beckmann's Mill for solo harp - no levers required
The Horse of Beckmann's Mill for solo harp - no levers required
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Harp
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EASY
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Contemporary
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Kim Kirkman
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Kim Kirkman
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The Horse of Beckmann's Mill f
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Kim Kirkman
#
SheetMusicPlus
Composed by Kim Kirkman. Arranged by Kim Kirkman. 21st Century, World, Folk, Recital. Score. 3 pages. Published by Kim Kirkman...
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Composed by Kim Kirkman. Arranged by Kim Kirkman. 21st Century, World, Folk, Recital. Score. 3 pages. Published by Kim Kirkman
An original composition
In dorian mode. Very much in folk song style
Inspired by animal welfare
Lovely arrangement. Quite easy.
Has impovised section in middle
The original lyrics are:
The Horse of Beckmann’s Mill
Pray, have you seen that chestnut foal o'er there uponthe hill?
The finest foal you've ever seen was born at Beckmann'sMill.
They let her play within her yard, tie ribbons in hermane,
They train her to the grinding stone that crushes up thegrain.
Now many times I've thought about that foal at Beckmann'sMill,
And many times I've wondered how that man can do so ill.
They use you up, they throw you out and turn their backsin scorn.
All because by chance it came to be the place where youwere born.
Pray, have you seen that chestnut filly o'er there besidethe hill?
The finest filly you're ever seen was worked at Beckmann'sMill.
They drive her from the morning sun until it's very late,
They thrash her hard to pull the wheel that's bonded toher fate.
Now many times I've passed her by and oft I've turned myface.
Yet many times I've wondered what if I were in her place.
They take advantage of the young and those without avoice.
And it seems to me that nowhere did she really have achoice.
Pray, have you seen that chestnut mare o'er there underthe hill?
The finest mare you've ever seen has died at Beckmann'sMill.
One day she fell upon her kness, the man he brought hisknife.
The tread mill won the battle, and the miller took herlife.
Now many times I've thought about the mare at Beckman'sMill,
And many times I've wondered how that man can do so ill.
They use you up, they throw you out and train anotherfoal,
Yet every death they cause will leave a stain upon theirsoul.
$1.99 ≈
$2.68
The Morning Sky: Serenade for Flute and Piano
The Morning Sky: Serenade for Flute and Piano
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Flute and Piano
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INTERMEDIATE/ADVANCED
#
Contemporary
#
Daniel Dade
#
The Morning Sky: Serenade for
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Daniel Dade
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SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.883406 Composed by Daniel Dade. 20th Century,Contemporary. 13 pages. Daniel Dade #3031071. Publish...
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.883406 Composed by Daniel Dade. 20th Century,Contemporary. 13 pages. Daniel Dade #3031071. Published by Daniel Dade (A0.883406). This piece was inspired by the sky. A few times a week, I would wake up and the sky would have a red tint, the tint filled me with many different emotions and I improvised at the piano with whatever came to my mind. The minor key represents the gloomy sky and the piece conveys the different types of weather. A dark gloomy red tinted sky, a lighter beautiful tinted sky, a mix of both colors, or a thunderstorm, all of these different weather types are portrayed in this piece.
$3.99 ≈
$5.37
Op. 1, No. 4: Mon âme est près de toi from Songs of Gouvy, V2 (Downloadable)
Op. 1, No. 4: Mon âme est près de toi from Songs of Gouvy, V2 (Downloadable)
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Piano, Voice
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INTERMEDIATE
#
MeeAe Cecilia Nam and Theodore
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Op. 1, No. 4: Mon âme est pr
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Voice and piano - Medium - Digital Download SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer M...
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Voice and piano - Medium - Digital Download SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-28E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-28E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
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$4.04
Have Yourself A Merry Little Christmas
Have Yourself A Merry Little Christmas
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Violin, Viola (duet)
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INTERMEDIATE/ADVANCED
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Christmas
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Colbie Caillat
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Krista Broadway Swider
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Have Yourself A Merry Little C
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Krista Swider
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Viola,Violin - Level 4 - Digital Download SKU: A0.1139988 By Colbie Caillat. By Hugh Martin and Ralph Blane. Arranged...
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Instrumental Duet Instrumental Duet,Viola,Violin - Level 4 - Digital Download SKU: A0.1139988 By Colbie Caillat. By Hugh Martin and Ralph Blane. Arranged by Krista Broadway Swider. 20th Century,Christmas,Classical,Jazz. Score and parts. 5 pages. Krista Swider #740000. Published by Krista Swider (A0.1139988). This arrangement of the classic Christmas tune, originally written for the musical, Meet Me in St Louis, is sweet, whimsical and dabbles in jazzy. The duo uses a number of seven chords and dissonances that resolve pleasantly in traditional harmonies. The violin carries the melody, while also filling in some rich counter melodies and chords, and the viola fills in a walking bass line with fun rhythms and chords that spice up the arrangement. There are a number of instances of 2 against 3, (duple and triple rhythms coexisting). The end of the piece sees the viola soloing on the melody for a few measures before the violin joins and the two parts play double stops to resolve in 4-part harmonies.
$12.00 ≈
$16.16
Autumn In New York
Autumn In New York
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Jazz
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Contemporary
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Bud Powell
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Kyle Pudenz
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Autumn In New York
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ViolinVagabond Music
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SheetMusicPlus
Electric Violin,Instrumental Solo - Level 5 - Digital Download SKU: A0.845965 By Bud Powell. By Vernon Duke. Arranged by Kyle Pudenz. 20th Century,Contem...
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Electric Violin,Instrumental Solo - Level 5 - Digital Download SKU: A0.845965 By Bud Powell. By Vernon Duke. Arranged by Kyle Pudenz. 20th Century,Contemporary,Jazz,Standards. Individual part. 6 pages. ViolinVagabond Music #4967185. Published by ViolinVagabond Music (A0.845965). An advanced-level jazz arrangement of Autumn in New York for unaccompanied 7-String Electric Violin. Although this was written on a 7-string, it also translates very well on a 6-string; there are only 2 passages that require the low Bb string, and these will sound fine taken up an octave. If you want to try this on a standard violin, well... good luck with the 5-note chords!I realize we extended-range violinists are few & far between, but if you (like me) appreciate the unique ability of this instrument to cover bass substitutions, chord melodies, and other roles that were previously thought exclusive to fretted/keyed instruments, this arrangement is an excellent demonstration of some of the really cool ways that you can bring a melody to life without the need for any effects or accompaniment. It is not for the faint of heart, and will definitely take some practicing, but if you can tackle the harmony this is a chart that is guaranteed to impress any jazz-nerd in the room... or your money back!*A challenging, yet elegant take on one of my favorite jazz ballads, this arrangement is great for showing off your jazz chops as a soloist, but can also work great as background music at one of those weddings or cocktail parties where someone decided it would be a hip idea to have an electric violinist... by themself...without any suggestions on repertoire (don't lie, we've all done at least one of these). Frets are optional, but not necessary ;-) I've been playing this for 6 years without... Performance time: 5 minutes, 30 secondsAlternatively you can skip one of the choruses to get it under 4 minutesQuestions? Suggestions? Requests? Contact me via my website: www.kylepudenz.com/Together, we can slowly fill the conspicuous void of printed music for electric violin!*You're not actually getting your money back. I stand by my comment about impressing the jazzers, though.
$7.99 ≈
$10.76
Stopping by Woods on a Snowy Evening
Stopping by Woods on a Snowy Evening
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Choral SATB
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INTERMEDIATE/ADVANCED
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Geoffrey Peterson
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Stopping by Woods on a Snowy E
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Geoffrey Peterson
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1303857 Composed by Geoffrey Peterson. 21st Century,A Cappella,Classical,Contemporary. 7 ...
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1303857 Composed by Geoffrey Peterson. 21st Century,A Cappella,Classical,Contemporary. 7 pages. Geoffrey Peterson #893380. Published by Geoffrey Peterson (A0.1303857). Robert Frost wrote “Stopping by Woods on a Snowy Evening†in 1922. Frost referred to the poem as his “best bid for remembrance.†It was published, along with other celebrated poems, including “Fire and Ice†and “Nothing Gold Can Stay,†in his collection “New Hampshire†in 1923. I intended the slow repeating tone cluster chords in the last section as a solemn meditation on death. I wanted to be as deliberate as possible with the poem’s two concluding quintessential lines “And miles to go before I sleep, And miles to go before I sleep.â€Â Whose woods these are I think I know.His house is in the village though;He will not see me stopping hereTo watch his woods fill up with snow.My little horse must think it queerTo stop without a farmhouse nearBetween the woods and frozen lakeThe darkest evening of the year.He gives his harness bells a shakeTo ask if there is some mistake.The only other sound’s the sweepOf easy wind and downy flake.The woods are lovely, dark and deep,But I have promises to keep,And miles to go before I sleep,And miles to go before I sleep.
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$2.68
Lesbia mi dicit semper male
Lesbia mi dicit semper male
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Choral SATB
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INTERMEDIATE
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Contemporary
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Mark D
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Lesbia mi dicit semper male
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Mark Templeton Choral Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.864441 Composed by Mark D. Templeton. 20th Century,Contemporary. Octavo. 12 pages. Mark Templeto...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.864441 Composed by Mark D. Templeton. 20th Century,Contemporary. Octavo. 12 pages. Mark Templeton Choral Music #2343381. Published by Mark Templeton Choral Music (A0.864441). Lesbia mi dicit semper male, commonly known as Catullus 92, consists of two elegiac couplets written by Gaius Valerius Catullus (84-54 B.C.E) for his lover, Lesbia. Lesbia was the name believed to have been given by Catullus to his mistress. Her real name was Clodia, the sexually promiscuous wife of proconsul Quintus Caecilius Metellus Celer, known as Metellus. Catullus’ earlier poem, 83, brings some context to 92. In the first part of 83, Catullus says: Lesbia keeps insulting me in front of her husband:this fills the fatuous idiot with delight. Mule, do you perceive nothing? If she shut up and ignored me that’d show healthy indifference;… In 92, Catullus expounds on the idea of why Clodia insults him in front of Metellus. Catullus reckons that he is always cursing her, and he loves her. She always curses him, so she must love him as well. In his desperation, Catullus uses his wit and humor to reason that his obsessive love for Coldia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint the words, Lesbia mi dicit semper male nec tacet umquam de me (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythms return in the men’s voices when Catullus says he does the same, quia sunt totidem mea: deprecor illam assidue (…it’s the same with me: I’m continually complaining.) The piece comes to a final rest after Catullus realizes the he will always be cursed to love her.
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$2.69
Prayers and Blessings (Piano/Vocal Score)
Prayers and Blessings (Piano/Vocal Score)
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Gwyneth W
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Prayers and Blessings
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. ...
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Bass/baritone voice solo, violoncello and organ - Moderately Easy - Digital Download SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages. Duration 10 minutes. E. C. Schirmer Music Company - Digital #6593-E. Published by E. C. Schirmer Music Company - Digital (MQ.6593-E). English.The three songs Welcome Love (Ubi caritas), Make Me an Instrument of Thy Peace, and Gaelic Blessing are interconnected motivically yet distinct in meter, tonality, and message. These three songs are interconnected motivically, yet distinct in meter, tonality, and message. Peace and reverence flow throughout. The songs are for a bass-baritone. Commissioned in 2003 by David Arnold, a North Carolina bass-baritone who is a soloist in the 80-voice Chancel Choir at Centenary United Methodist Church in Winston-Salem. Mr. Arnold premiered these songs at Centenary with organist Ray Ebert and cellist Jennifer Alexandra Johnston on February 27, 2005. A new version for voice and piano was created in 2005. A transposition for lyric Baritone was added in 2015, commissioned by Ferris Allen (Baritone) and Linda Holzer (Pianist) of Little Rock, AR.The lyrics for Ubi Caritas are based on a new translation, by Christopher Brunelle, of the traditional Ubi Caritas Est Vera. A recurrent image in this translation is the gesture of welcoming: welcoming love, welcoming God, welcoming the friendly unfamiliar thought, welcoming Christ with us. The musical interpretation of welcoming is stepwise motion, either up or down, around a pitch center. Perhaps this might be heard as an opening of the door, or an opening of the heart.An interlude leads to the second song, Make Me an Instrument of Thy Peace, a musical setting of the Prayer of Saint Francis. The accompaniment is sparse, with material reminiscent of the welcoming pattern in the first song. This song alternates between triple meter for the thematic sections (Lord, make me an instrument of thy peace) and duple meter for the more recitative sections (O Divine Master...). The music ends as it began, with simple open fifths accompaniment, this time filling in the chords to express the fullness of the lyrics born to eternal life.A second interlude provides the bridge to the third song, Gaelic Blessing. The text for this song is a series of blessings for peace. The gentle chordal arpeggiations in the piano are intended to provide a peaceful accompaniment. [Once again, the stepwise intervals and recurrent regular rhythms relate to the first song.]In keeping with the simplicity and repetition of the text, the music is formed by a series of four-measure phrases (blessings). The blessings are similar in contour, each spanning an interval of a fourth. Growth is achieved through repetition and some dynamic contrast. However, the principal aesthetic of this song is constancy and gentle flow. Only at the end of the song, when the voice descends into the deep range, is the melodic contour altered, and dynamic contrast introduced. As the voice ends on low tones, the piano line rises, perhaps to the source of peace.Duration: 10 min.
$11.00 ≈
$14.82
An Orange for Soprano/Tenor and Piano
An Orange for Soprano/Tenor and Piano
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Piano, Voice
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INTERMEDIATE
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Apostolos Paraskevas
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An Orange for Soprano/Tenor an
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Silver Sickle Publications
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos Paraskevas. 20th Century,Jazz,Opera,World. Score. 10 pages. Silver Si...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos Paraskevas. 20th Century,Jazz,Opera,World. Score. 10 pages. Silver Sickle Publications #4729017. Published by Silver Sickle Publications (A0.942058). This witty and extremely fun work to perform by composer Apostolos Paraskevas was conceived after real events. There is a version for Soprano/tenor and Piano and one for guitar as well. Easy to perform and the text was inspired of the following narrative. I Slaughtered an Orange over the Sink... ...and it just sat there…It didn't say a word, not a sound of anguish, not even when my teeth started to tear apart it's flesh little by little... I knew it was a special orange but I couldn't fathom the magnitude of its character…Even when gentle I took it away from its friends there at the top of the kitchen counter, it looked at me almost with a sense of gratitude. Yes, gratitude.! As if it was saying: Thank you! Thank you for helping me to fulfill the purpose of my life…Since I was a little seed I knew I would serve a higher purpose. My sacrifice will help a human to become a healthier mother, doctor, composer, a better scientist. Yes, I think I felt it said…a better composer as well. ...and there I was, sinking my teeth deep inside its flesh and taking all of what it had to offer. It's life, it's substance, it's gratitude for serving a higher purpose. I slaughtered it over the sink, to avoid any evidence of what had happen there. The remaining outer sell, I placed it on the stove top and lighted up with fire, as my mother use to do, to release the heavenly smell and there it was. Evaporated everywhere! I inhale it, It became totally a part of me. Today, I slaughtered an orange over the sink and I didn’t say thank you! Apostolos Paraskevas is a classical guitarist and composer as well as an award-winning film director and producer. He has received multiple international awards for his compositions and was nominated for a Grammy Award. He is the only guitarist ever to have a major orchestral piece performed at Carnegie Hall under the direction of Lukas Foss––and the only musician who has performed there in a Grim Reaper outfit. He was the founder and served for 16 years as the artistic director of the International Guitar Congress-Festival of Corfu, Greece. He is a voting member of the Recording Academy (Grammys). After his undergraduate music studies in Volos he pursued advanced studies in classical guitar with Costas Cotsiolis (diploma, 1990) and Leo Brouwer (Havana 1984, 1988), as well as postgraduate studies in composition with Lukas Foss and Theodore Antoniou (DMA in composition, Boston University, 1998). Paraskevas embarked on a successful career as a guitar soloist and contemporary composer, achieving distinctions in both disciplines: Grammy nomination for Chase Dance (Bridge Records, 1999); first prize for Night Wanderings (Lukas Foss Composition Competition, 2000); first prize for Phygein Adynaton (National Composers Conference, 1997); and numerous prestigious commissions, performances, and publications. Following teaching posts at Northeastern and Boston Universities, Paraskevas has taught since 2001 at the Berklee College of Music in Boston (professor of composition and classical guitar). His eclectic compositional style arises as an idiosyncratic integration of seemingly conflicting influences – from avant-garde approaches to harmonic structure, form, and timbre, to pop-folk modal and rhythmical concepts – amalgamated into a personal evocative musical language, characterized by rhythmic verve, melodic grace, dramatic (and sometimes unexpectedly humorous) gestures, and ritualistic or theatrical elements. The latter feature has also led Paraskevas to the creation of films, notably the acclaimed I Finally Did It (Gold award, California Film Awards 2010), dealing wittily with Death, a recurring extra-musical theme in his music. The Groves Dictionary of Music Costas.
$8.99 ≈
$12.11
Cinnamon Rolls (for Brass Quintet)
Cinnamon Rolls (for Brass Quintet)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Dr
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Cinnamon Rolls
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy. 22 page...
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy. 22 pages. Https://gildedmusicpress.com/ #758669. Published by https://gildedmusicpress.com/ (A0.1158388). My wife’s from-scratch cinnamon rolls are famous throughout our community—especially among our children’s circle of friends. While enjoying a socially-distanced church service at home on Easter Sunday, there was a batch of those butterfly-inducing cinnamon rolls baking in the new oven. They filled the home with an exquisite aromatic delight. Then the magic motif chimed: “The food is done!†I happened to have my composition notebook with me, and the little four-note tune inspired this composition. It just naturally took me in some happy musical directions, and within a minute or two, the melodic content, replete with fun-filled, muted second-trumpet echoes, was scrawled down. The next day, the music was entered into the computer. It is interesting that I gave the horn the cliché off-beats that all hornists know and love so well. Funny, I usually pride myself on writing for horn as an equal musical instrument; however, this fun, happy melody just demanded an “um-pah†accompaniment. Hopefully there is enough variety to keep the part fun to play. It helps that the piece is only two minutes and something long. The transition into the B section almost wrote itself, modulating to the relative minor. There I paused briefly, wondering how to treat a minor section in such an exuberant piece. Oh, but inspiration continued to flow, and I resumed writing in earnest with a mischievous smile! This section beautifully portrays a naughty, sneaky kid tiptoeing into the kitchen for another cinnamon roll—forbidden until after dinner! The listener can hear the kid’s nervous fluttering heart, and moments of pulling his hand back in startled impishness, and even shuddering as he looks fearfully over his shoulder. At the end of the B section, he gets caught! Witnessing that low-hanging head and puppy dog eyes, mommy finds that she can’t scold the lad too severely. “After dinner, little one…†she reprimands with an understanding grin. The jubilant melody returns to round out the work’s ternary ABA form, though this time with a very sticky Ives-esque climax, reminiscent of a gooey cinnamon roll mess. Too enjoyable to be bothered by prospects of cleaning up, the music shrugs it off with flippant ragtime syncopations, and ends with the “hic-burp†of a very satisfied tummy.
$19.95 ≈
$26.87
Portals of Catedral de Orihuela.
Portals of Catedral de Orihuela.
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Dr Anthony Costandius
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Portals of Catedral de Orihuel
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Anthony Costandius Music
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - Digital Download SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contempo...
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Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - Digital Download SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Score and parts. 72 pages. Anthony Costandius Music #14899. Published by Anthony Costandius Music (A0.938331). A piece for solo Alto Saxophone and String Orchestra. The church was made a cathedral in 1564 when the city was granted its bishopric. The cathedral was built on the site of the Aljama Mosque in the first third of the 14th century. The name of this structure, El Salvador Cathedral, literally means the Cathedral of the Transfiguration. The cathedral has three portals: the Puerta de las Cardenas (Portal of the Chains, 14th century) is in Islamic style, the Puerta de Loreto (mid-15th century) is Gothic, and Puerta de la Anunciación (Portal of the Annunciation, built in 1588 by Juan Inglés), which has a Renaissance-style triumphal arch-shape. Part 1: Introitis. The saxophone mimics a chant based on the metre of the Introitis: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem (Bedew us, heavens, from above; ye clouds, rain down the Just One. Let the earth be opened up, and produce the Saviour. The intervals 1 (tonic), 5 (dominant), 6 (super-dominant) and 4 (subdominant), based on the year 1564 referred to in the section above, are used as the basis for the harmony progression for the string section. Part 2: Puerta de las Cardenas Acts 12:3–19 says that Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison, thinking it was a vision (verse 9). The prison doors opened of their own accord, and the angel led Peter into the city. The visit from the angel, release from the chains and the prison, as well as the journey into the city is expressed against the background of the Islamic design of the portal, hence the referral to Arabian rhythms and scales in the music. Part 3: Puerta de Loreto The Puerta de Loreto is of gothic design. Loreto refers to the Italian city of Loreto in the province of Ancona. It is said that the holy house where the Mother Mary lived in Nazareth was translated miraculously to Loreto on December 19, 1294 - more than 700 years ago. The house did not go straight to Loreto, but in the year 1291 it was miraculously transported from Nazareth to the town of Tersatto in Dalmatia (Croatia). The local population, filled with astonishment, did not know how to explain its sudden appearance. Their Bishop, who was gravely ill, now appeared in their midst cured. He had prayed to the Virgin Mary that he might be strong enough to see the prodigy for himself, and the Mother of God appeared to him, surrounded by Angels, saying: My son, you have called for me, and here I am. I came to give you succor and to reveal to you the mystery [of the translation of the Holy House] you desire to know. The holy dwelling is the very house where I was born and raised. It was there that I received the good news brought by the Archangel Gabriel and I conceived the Divine Infant by the operation of the Holy Ghost. It was there that the Word was made flesh... For you to bear witness to all that I am telling you now, you will suddenly be cured and return to full health after the long illness you have borne, so that through you all will believe in this miracle. Part 4: Puerta de la Anunciación The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning Saviour. Part 5: Exit The work ends with a re-interpretation of the first section, the Introitis. This is to bind the work together, but also to again reflect on the text, as stated: Rorate, caeli, desuper, et nubes pluant iustum: a periatur terra, et germinet Salvatorem, and to comtemplate how that gives meaning to the being, essence and history of the Catedral de Orihuela.
$10.00 ≈
$13.47
Sunset
Sunset
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C Instruments
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INTERMEDIATE
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Poem by H
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Sunset
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Λrthvr
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SheetMusicPlus
C Instrument - Level 3 - Digital Download SKU: A0.1435522 By Poem by H.P. Lovecraft. By Λrthvr. 20th Century,A Cappella,Chamber,Classical,Contemporary. ...
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C Instrument - Level 3 - Digital Download SKU: A0.1435522 By Poem by H.P. Lovecraft. By Λrthvr. 20th Century,A Cappella,Chamber,Classical,Contemporary. Lead Sheet / Fake Book. 1 pages. Λrthvr #1015610. Published by Λrthvr (A0.1435522). A setting of the poem Sunset by H.P. Lovecraft, for solo female voice or choir upper voice (without accompaniment).Ambitus:B♭3 - D5You are free to transpose the score up or down. If you would like to perform the piece publicly (live concert or internet), please contact me via contact form.You can find the piece and other similar music here:https://arthvr000.bandcamp.com/album/vocal-music-poetry-settingsPoem text:The cloudless day is richer at its close;A golden glory settles on the lea;Soft, stealing shadows hint of cool reposeTo mellowing landscape, and to calming sea.And in that nobler, gentler, lovelier light,The soul to sweeter, loftier bliss inclines;Freed from the noonday glare, the favour’d sightIncreasing grace in earth and sky divines.But ere the purest radiance crowns the green,Or fairest lustre fills th’ expectant grove,The twilight thickens, and the fleeting sceneLeaves but a hallow’d memory of love!
$2.99 ≈
$4.03
who knows if the moon's a balloon - SSAA (Children) & Piano
who knows if the moon's a balloon - SSAA (Children) & Piano
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Choral SSAA
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INTERMEDIATE
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Charles Griffin
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who knows if the moon's a ball
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Coriolis Press
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1000875 Composed by Charles Griffin. 20th Century,Contemporary. Octavo. 8 pages. Coriolis Press ...
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1000875 Composed by Charles Griffin. 20th Century,Contemporary. Octavo. 8 pages. Coriolis Press #5982771. Published by Coriolis Press (A0.1000875). SSAA with piano accompaniment (1999 rev. 2020) ca. 3’e.e. cummings, Text.Commissioned by the Piedmont Choirs, for use in the International Choral Olympics in Linz, Austria, July, 2000.The MP3 recording is of the original composition. A handful of small tweaks were recently made, all of which simplify the performance challenges.Text:who knows if the moon’sa balloon, coming out of a keen cityin the sky-filled with pretty people?(and if you and I shouldget into it, if theyshould take me and take you into their balloon,why thenwe’d go up higher with all the pretty peoplethan houses and steeples and clouds:go sailingaway and away into a keencity which nobody’s ever visited, wherealwaysit’sSpring)and everyone’sIn love and flowers pick themselves
$2.99 ≈
$4.03
I'll Walk Alone
I'll Walk Alone
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Dinah Shore
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F
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I'll Walk Alone
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Sweetwater Brass Press
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SheetMusicPlus
Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Lesl...
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Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th Century,Jazz,Pop,Standards. 20 pages. Sweetwater Brass Press #936564. Published by Sweetwater Brass Press (A0.1351942). “I’ll Walk Alone†is a World War II era ballad whose poignant melody sounds as though it could have been written just yesterday.  First introduced in the 1944 movie Follow the Boys, it was hugely popular and has since been recorded by numerous artists.   Universal Pictures produced Follow the Boys in an effort to help boost morale for both overseas military and folks on the home front.  Despite being filled with stars and songs, critics tended to dismiss it as hokey and trite.  The exception was a scene in which Dinah Shore sang “I’ll Walk Alone.† Nominated for the Academy Award for Best Original Song, Ms. Shore’s follow-up Victor recording spent 20 weeks on the top ten Best Selling Records chart.  The song was used yet again in 1952 for another motion picture, With a Song in My Heart, the Jane Froman biographical film, and the melody eventually developed as a standard, particularly in the world of jazz.   Sammy Cahn’s lyrics for this song express the feelings and the promise of a woman who has been separated from her lover by the war.  She pledges that she will be true, that she will wait for him, and that “'till you're walking beside me, I'll walk alone.† Jule Styne’s melody is both plaintiff and simple. an eight-measure phrase, a repeat of the phrase, an eight-measure second phrase, then another repeat of the first phrase.   For this arrangement, the suggested tempo is a relatively slow, blues-like 72 bpm.  It features a tenor saxophone as lead and solo instrument accompanied by brass quintet.  A four-measure introduction opens the piece with Trumpet 1 playing melody and the other four brass providing background.  Following the intro, Tenor Sax plays its first three notes alone; the other instruments begin their accompaniment on measure 6.  Trumpet 1 is tacit during measures 6-11 but begins adding counterpoint in measure 12.     In performing this arrangement, brass instruments should ensure that, when the Sax plays, their volume as a group is under (i.e., softer than) the melody.  The exception begins at measure 36, when a crescendo leads to the quintet playing fortissimo.  During this section, the Tenor Sax plays a couple of responses.  At measures 43 a decrescendo lowers the brass volume back to its original soft accompaniment level.  The piece ends with brass recapping the introduction and Sax providing a final statement.   This piece, completed in 2023, consists of 57 measures, a little over three minutes in length.  Written in the key of G major, Tuba’s lowest note is a G below the staff.  Other than that, all notes are well within the normal playing range of each instrument.   The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
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