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First, Last and Always
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94 sheet music found
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First, Last and Always (I Love You). Ballad Fox Trot
First, Last and Always (I Love You). Ballad Fox Trot
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Harry Akst
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First, Last and Always
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice; ukulele - Digital Download SKU: LV.8981 Composed by Harry Akst. Portraits. Lester S. Levy Collection. 4 pages. Published by Johns Hopkin...
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Piano and voice; ukulele - Digital Download SKU: LV.8981 Composed by Harry Akst. Portraits. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.8981). First, Last and Always (I Love You). Ballad Fox Trot. Lyric by Benny Davis. Music by Harry Akst. Published 1923 by Jerome H. Remick & Co. in New York. Composition of strophic with chorus with piano and voice; ukulele instrumentation. Subject headings for this piece include Portraits. First line reads Where there's love there's happiness they say.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
¥42.00
Grand Duo, opus 151 (2012) full score
Grand Duo, opus 151 (2012) full score
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Grand Duo, opus 151
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Thomas Oboe Lee
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With A...
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Piano,Violin - Level 4 - Digital Download SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With Andante … 3. 2 pages. Thomas Oboe Lee #3901. Published by Thomas Oboe Lee (A0.869204). Program note: This is the third duo for violin and piano in my portfolio. The first one was written back when I was a student at the New England Conservatory of Music. It was my opus 3, The Sensuous Gargoyle (1975). My next one was a four-movement work entitled Tunesmith … An American Beauty Pageant (1993). It was commissioned by the Music Department at Lehigh University and premiered by two of its faculty members, Paul Chou and Paul Salerni. The violin has always been my favorite instrument. I have written twelve string quartets. For the violinist extraordinaire Irina Muresanu I wrote a big violin concerto in 2009, and a Partita for solo violin in 2011. I am slated to write another concerto, albeit a chamber one, for the Boston Classical Orchestra and violinist Sharon Roffman for a premiere in the fall of 2013. Last year I decided to write a third duo for violin and piano. I wanted to do something substantial and grandiose, hence the title Grand Duo, opus 151. Both Schubert and Lou Harrison have written works with the same title. So I thought, why not? The work is in five movements. 1. Misterioso … 2. Andante … 3. Allegro … Trio! 4. Largo … 5. Allegro … Enjoy! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/grand-duo-opus-151-2012Video link: https://youtu.be/xThob_BQkDE
$9.99 ≈
¥70.04
The Glastry Pearl. Tone Poem Elegy For My Mum.
The Glastry Pearl. Tone Poem Elegy For My Mum.
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Orchestra
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ADVANCED
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Geraldine
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The Glastry Pearl. Tone Poem E
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00 ≈
¥1402.29
There Is a Happy Land (Easy Piano Duet; 1 Piano, 4-Hands)
There Is a Happy Land (Easy Piano Duet; 1 Piano, 4-Hands)
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1 Piano, 4 hands
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BEGINNER
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Sacred music
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Sharon Wilson
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Sharon Wilson
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There Is a Happy Land
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Sharon Wilson
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.565119 By Sharon Wilson. By Andrew Young. Arranged by Sharon Wilson. Children,Praise & Wo...
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1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.565119 By Sharon Wilson. By Andrew Young. Arranged by Sharon Wilson. Children,Praise & Worship,Sacred,Traditional. Score. 9 pages. Sharon Wilson #3435121. Published by Sharon Wilson (A0.565119). This mixed level, 1 piano, 4-hands duet arrangement of the cheerful hymn tune HAPPY LAND is designed for a beginning student to play the PRIMO while an intermediate player (teacher, parent, friend, sibling) plays the SECONDO. All notes in the PRIMO are played singly with the hands in one position centered around middle C and then played one octave higher. The PRIMO can also be played as a solo when played as written. Lyrics are included on the PRIMO for sing-along enjoyment.The first verse speaks about the saints singing as described in Revelation 7:9-10. This upbeat, cheerful arrangement echoes the joy that will be experienced when the prophecies of Revelation are fulfilled and sin and death are no more. What a joyous day that will be when in heaven with Jesus we will sing Worthy is our Savior King! The last phrase of the song uses the word aye which may be unfamiliar to many. This word from long ago simply means forever or always.The purchase price includes a 4-page combined score with both piano parts on each page plus the alternate format with the PRIMO and SECONDO on separate pages (2 pages each). Duration 1:30. This arrangement is one of the 10 songs included in the Easy Piano Duets collection titled What Heavenly Music.
$4.99 ≈
¥34.99
Handel: Messiah (Der Messias) Hallelujah Chorus (original key of D) - wind dectet
Handel: Messiah (Der Messias) Hallelujah Chorus (original key of D) - wind dectet
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Classical
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George Frideric Handel
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Ray Thompson
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Handel: Messiah
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 3 - Digital Download SKU: A0.553419 Composed by George Frideric Handel. Arranged by Ray Thompson. Christmas,Classical,Sacred,Weddi...
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Large Ensemble - Level 3 - Digital Download SKU: A0.553419 Composed by George Frideric Handel. Arranged by Ray Thompson. Christmas,Classical,Sacred,Wedding. Score and parts. 27 pages. RayThompsonMusic #2551253. Published by RayThompsonMusic (A0.553419). Part II of Handel's Messiah closes with the chorus Hallelujah, in the key of D major.In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. The tradition is said to have originated with the first London performance of Messiah, which was attended by King George II. As the first notes of the triumphant Hallelujah Chorus rang out, the king was so moved that he rose to his feet and remained standing until the end of the chorus. Royal protocol has always dictated that when the monarch stands, everyone in the monarch's presence is also required to stand. Thus, the entire audience and orchestra stood when the king stood during the performance, initiating a tradition that has lasted more than two centuries.My arrangement is for standard wind dectet: 2 fl, 2 oboes,2 clt in A, 2 hns in D and 2 bassoons.
$14.95 ≈
¥104.82
Percussion Quartet (2015) for vibraphone, marimba, drum set and multi-percussion (full score)
Percussion Quartet (2015) for vibraphone, marimba, drum set and multi-percussion (full score)
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Thomas Oboe Lee
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Percussion Quartet
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble Drum Set,Marimba,Multi-Percussion,Vibraphone - Level 4 - Digital Download SKU: A0.869371 Composed by Thomas Oboe Lee. 20th Century,Contemp...
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Small Ensemble Drum Set,Marimba,Multi-Percussion,Vibraphone - Level 4 - Digital Download SKU: A0.869371 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin. Score and parts. 27 pages. Thomas Oboe Lee #37741. Published by Thomas Oboe Lee (A0.869371). Program note: I met Brian Calhoon when he performed at a Boston Conservatory of Music recital featuring students of marimba godhead, Nancy Zeltsman. This was a few years ago … A year ago, I noticed that Brian had started a percussion ensemble with some friends called the Boston Percussion Group. I have always been fascinated with John Cage’s early explorations with percussion instruments: First, Second and Third Constructions; Imaginary Landscape Nos 1, 2 & 3; etc. These percussion pieces eventually led to his invention of the prepared piano. Brian and I got together one day for lunch last fall, and I asked him if he would be interested if I wrote a piece for his group. He said, Yes!!! Percussion Quartet is in six movements. 1 Back beat … Moderato. 2 Arioso … Moderato. 3 Funk march … Moderato. 4 Nachtmusik I … Adagio. 5 Fast and furious … Presto. 6 Nachtmusik II … Moderato Enjoy!!! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/percussion-quartet-2015
$9.99 ≈
¥70.04
Jacques Leguerney: String Quartet in D for two violins, viola and cello
Jacques Leguerney: String Quartet in D for two violins, viola and cello
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quar
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95 ≈
¥273.10
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
¥97.81
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
¥97.81
Always There
Always There
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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EASY
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Celtic/Irish
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Brendan Graham and Rolf Lovlan
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Ted Samuels
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Always There
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Theodore A. Samuels
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SheetMusicPlus
Brass Quintet - Level 2 - Digital Download SKU: A0.828659 Composed by Brendan Graham and Rolf Lovland. Arranged by Ted Samuels. Celtic,Contemporary,Irish...
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Brass Quintet - Level 2 - Digital Download SKU: A0.828659 Composed by Brendan Graham and Rolf Lovland. Arranged by Ted Samuels. Celtic,Contemporary,Irish,Pop. 21 pages. Theodore A. Samuels #5852319. Published by Theodore A. Samuels (A0.828659). This song was written by the team of Brendan Graham and Rolf Lovland, who also wrote You Raise Me Up. It was originally performed by their group Secret Garden, and The Canadian Tenors (aka The Tenors) have also recorded a fine version of it.This arrangement is for brass quintet with an optional medium voice. It begins in the key of Eb and then changes to F for the last verse and finale. (A similar arrangement for saxophone ensemble and low voice is also available.) It commemorates the 200th anniversary of the birth of Florence Nightingale, and is dedicated to the many frontline workers and first responders who have served faithfully at great personal risk during the Coronavirus COVID-19 pandemic of the early 2020s.
$14.99 ≈
¥105.10
Silent Night For Full Orchestra And Chorus
Silent Night For Full Orchestra And Chorus
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Orchestra
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INTERMEDIATE
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Christmas
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Christian Paulson
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Christian Paulson
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Silent Night For Full Orchestr
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Christian Paulson
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Chri...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Christmas,Holiday. Score and Parts. 28 pages. Christian Paulson #753348. Published by Christian Paulson (A0.1153104). This arrangement began as a piece I arranged as a finale for our first combined band, orchestra, and choir concert. It was a big hit! Silent Night has always been a piece that everyone seems to hold dearly. The chorus has a traditional harmony right out of the green hymnal. This piece can also be done with a small group of singers or as a solo. The instruments parts are very accessible and the scoring makes every group sound full. One of the theatrical moments happens right after the climax of the second verse. Choke the cymbal and chimes on beat one of measure 55 and let the natural reverberance of the hall ring on. Slow the tempo, lower the volume and invite the audience to hum along to the last verse. Nothing brings musicians and audiences together like Silent Night.
$45.00 ≈
¥315.52
Etude "Three Hands"
Etude "Three Hands"
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Piano solo
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ADVANCED
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Peter Saltzman
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Etude "Three Hands"
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Salt Muse, Inc
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SheetMusicPlus
Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.1162887 By Peter Saltzman. By Peter Saltzman. This edition: Interactive Dow...
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Instrumental Solo,Piano and Keyboard - Level 5 - Interactive Download SKU: A0.1162887 By Peter Saltzman. By Peter Saltzman. This edition: Interactive Download. Classical,Jazz. Individual part. 8 pages. Duration 196. Salt Muse, Inc #4nxW5iY27ChHy497Z90vlj. Published by Salt Muse, Inc (A0.1162887). Key: F minor.No, it's not really for three hands; it just feels and (at times) sounds like it. This etude was supposed to be an R&B tune. When I first came up with the melody (1992), I tried to write lyrics. But nothing worked. I then tried to make it a band instrumental, with electric guitar taking the lead. Nah, too corny sounding. But I liked the tune. So I persisted and tried it as a solo piano piece. The thing is this: it retains its provenance as a piece for band because the two hands are basically acting as the band. Nothing unusual about that with regard to solo piano: it's always kind of a band or orchestra. What's different here is the left hand is usually playing both the tune and bass line. The right hand, when it joins the party at measure nine, acts like the backup singer (or maybe the guitar that was supposed to take the lead.) Remember that the bottom staff, as indicated, is always 8vb, except for the last measure. And should you take up the challenge to learn this, it is fatiguing but worth the effort.
$4.95 ≈
¥34.71
Caprice for Viola and Piano
Caprice for Viola and Piano
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Viola, Piano
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EASY
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Contemporary
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Phil Thrift
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Caprice for Viola and Piano
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Phil Thrift
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SheetMusicPlus
Piano,Viola - Level 2 - Digital Download SKU: A0.955749 Composed by Phil Thrift. Contemporary. Score and part. 11 pages. Phil Thrift #6683993. Published ...
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Piano,Viola - Level 2 - Digital Download SKU: A0.955749 Composed by Phil Thrift. Contemporary. Score and part. 11 pages. Phil Thrift #6683993. Published by Phil Thrift (A0.955749). Caprice started out as a totally different piece of music, as a song in fact. However, in this modified form in a different key, it works well as a short, easy solo for viola. This is a light piece without any technical difficulties, but the modest musical material will test your musicality. It’s mainly about melody, not technical abilities. Spirited, lyrical, reflective – those are the three moods the player needs to communicate, and always with a light touch. The first section, up to the key change, should be thought of as a song. That is followed by an instrumental interlude before the song returns at measure 72. At times there is a hint of Latin feeling in the piano accompaniment, which will require some sensitive playing to support that song-like concept. The repetition of the opening four notes in the solo part at the end should not be played loud – they should be regarded as an afterthought. Likewise, the last note in the piano part should not be a we’ve-reached-the-end thump, instead played lightly, like an understatement.
$3.99 ≈
¥27.98
Paper Faces, Plastic Smiles
Paper Faces, Plastic Smiles
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Piano, Vocal and Guitar
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ADVANCED
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John Christopher Yount
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John Christopher Yount
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Paper Faces, Plastic Smiles
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John Christopher Yount
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.979430 Composed by John Christopher Yount. Arranged by John Christopher Yount. 20th Century...
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Guitar,Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.979430 Composed by John Christopher Yount. Arranged by John Christopher Yount. 20th Century,Christian,Graduation,Holiday,Instructional,Love. Score. 9 pages. John Christopher Yount #4783719. Published by John Christopher Yount (A0.979430). PF, PS intro music is a gift for Mary, Mother of Jesus. I first conceived of this poem and melody while an undergraduate at Duke Univ, sharing it with a friend who enjoyed the jazz reggae syncopation and melody line as we sang bits of the poem together. The poem is a long popular song, and it took me some time to perfect the intro as it is today. I am very proud of this work, as I believe it is a most original P/V intro to reggae melodies as we know them today. I write this song in honor of Mary, because she is such a genuine Goddess of Creation, the majestic and pure Mother of Jesus who always interacted with others in a straightforward and genuine manner. This song is about perseverance in the face of interpersonal superficiality, and it will take me some more time and effort to differentially cut and paste the strophic nature of the music on Finale. Enjoy!PS The title page and introduction to Puddle Jumpin' were written many years ago, and map out my dream of writing the Puddle Jumpin' Songbook Collection, Songs for Children of All Ages. Come Sweet Jesus, and save us from ourselves!!! One Family in Christ, JCY
$4.99 ≈
¥34.99
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
¥49.08
Allegories for Flute, Euphonium, and Piano
Allegories for Flute, Euphonium, and Piano
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Sy Brandon
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Allegories for Flute, Euphoniu
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Sy Brandon
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SheetMusicPlus
Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon ...
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Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon #742334. Published by Sy Brandon (A0.1141957). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
¥105.10
Allegories for Flute, Euphonium, and Percussion
Allegories for Flute, Euphonium, and Percussion
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Sy Brandon
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Allegories for Flute, Euphoniu
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Sy Brandon
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SheetMusicPlus
Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Bra...
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Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Brandon #742339. Published by Sy Brandon (A0.1141962). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
¥105.10
The Last Time
The Last Time
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C Instruments
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INTERMEDIATE/ADVANCED
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Eric Benet
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Arby Richter
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The Last Time
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Arby Richter
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SheetMusicPlus
C Instrument - Level 4 - Digital Download SKU: A0.1285099 By Eric Benet. By Amy Foster, David W Foster, and Eric Benet Jordan. Arranged by Arby Richter. ...
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C Instrument - Level 4 - Digital Download SKU: A0.1285099 By Eric Benet. By Amy Foster, David W Foster, and Eric Benet Jordan. Arranged by Arby Richter. Hip-Hop,Pop,R & B,Singer/Songwriter,Standards,Wedding. Lead Sheet / Fake Book. 2 pages. Arby Richter #876206. Published by Arby Richter (A0.1285099). THE LAST TIME was written by Eric Benet, David W. Foster, and Amy Foster-Gillies. This song is part of Benet's studio album HURRICANE which was released in June 2005 by Friday Records. Since its release, The Last Time has always been a favorite for weddings, and is frequently used as a song for the Couple's First Dance. Here are a few lines of the song . . .The first time I fell in love was long agoI didn't know how to give my love at allThe next time I settled for what felt so closeBut without romance, you're never gonna fallAfter everything I've learnedNow it's finally my turnThis is the last time I'll fall in love.
$6.99 ≈
¥49.01
The Princess Of Sintra For Violin And Cello
The Princess Of Sintra For Violin And Cello
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Violin, Cello (duet)
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INTERMEDIATE/ADVANCED
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Luis Anjos Teixeira
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The Princess Of Sintra For Vio
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Luis Anjos Teixeira
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SheetMusicPlus
String Ensemble - Level 4 - Digital Download SKU: A0.889442 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 2...
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String Ensemble - Level 4 - Digital Download SKU: A0.889442 Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 22 pages. Luis Anjos Teixeira #4766851. Published by Luis Anjos Teixeira (A0.889442). The Princess Of Sintra It is not a beginners choice, it is appropriate for experienced and advanced students and musicians. It is relatively easy to perform once thoroughly practiced. When played „Live you will experience a great rewarding from its magical power upon the public. Some interpretation symbols where used in the score, they are mere personal suggestions. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. The bowing is very often simply used as a reference to musical legato. The staccato is meant to shorten the length of the notes to half of its duration and is often used to simplify the righting and the reading of the score. The piece is not difficult but it requires focused endurance and some practice on certain passages. Once learned you will never forget it. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste. Have fun! It is a very flexible piece that can be used in all kinds of events. This piece can also be performed between the „Celtiberian Danceand the Celtiberian Fantasy, as all this 3 pieces where composed with that purpose. To the last note of „The Princess Of Sintra follows the first of the „Celtiberian Fantasy. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Luis Anjos Teixeira
$11.66 ≈
¥81.75
Fandango de Huelva
Fandango de Huelva
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Guitar
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INTERMEDIATE/ADVANCED
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Flamenco
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Traditional
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Richard Hirsch
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Fandango de Huelva
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Richard Hirsch
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SheetMusicPlus
Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Publis...
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Composed by Traditional. Arranged by Richard Hirsch. Folk, Multicultural, Traditional, World. Individual part. 9 pages. Richard Hirsch #190297. Published by Richard Hirsch
A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, Málaga, Almería) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a compás, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the compás falling on the third beat of the first 4/4 measure. The first accented beat in the compás falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms’ Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan González “Triguito” in Madrid in the late 1960’s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mesón de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzapúa, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzapúa and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.
$4.99 ≈
¥34.99
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