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You've selected:
Letters from the War
Sheetmusic to print
43 sheet music found
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1
26
Letters from the War (score)
Letters from the War (score)
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String Quartet: 2 violins, viola, cello
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EASY
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J
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Letters from the War
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J. Andres Ballesteros
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1022627 Composed by J. Andres Ballesteros. 20th Century...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1022627 Composed by J. Andres Ballesteros. 20th Century,Contemporary,Folk. Score and parts. 25 pages. J. Andres Ballesteros #2828461. Published by J. Andres Ballesteros (A0.1022627). Letters from the War, for string orchestra (Score)by J. Andrés Ballesteros (2011, ed. 2016; ASCAP)Letters from the War (2011) was commissioned by Jesse Suggs and the Northern Guilford Middle School Orchestra in the spring of 2010 and was written in commemoration of the 150th anniversary of the beginning of the American Civil War. The inspiration for the piece is drawn from a number of letters written by soldiers during the war. Some familiar tunes from that era are quoted throughout in keeping with the theme, and in the final movement, earlier parts of the piece are also quoted. Together these letters and the music depict the narrative of the war, from a building march and a mournful ballad to a joyous celebration and a triumphant finale.This piece is a 3-movement concert piece appropriate for advanced middle school or intermediate high school orchestras. The piece includes brief solos for viola and violin in the second movement.
$18.95 ≈
17.28€
Letters from the War (parts)
Letters from the War (parts)
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String Quartet: 2 violins, viola, cello
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J
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Letters from the War
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J. Andres Ballesteros
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Digital Download SKU: A0.1022625 Composed by J. Andres Ballesteros. 20th Century,Contempor...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Digital Download SKU: A0.1022625 Composed by J. Andres Ballesteros. 20th Century,Contemporary,Folk. Score and parts. 34 pages. J. Andres Ballesteros #2835761. Published by J. Andres Ballesteros (A0.1022625). Letters from the War, for string orchestra (Parts)by J. Andrés Ballesteros (2011, ed. 2016; ASCAP)Letters from the War (2011) was commissioned by Jesse Suggs and the Northern Guilford Middle School Orchestra in the spring of 2010 and was written in commemoration of the 150th anniversary of the beginning of the American Civil War. The inspiration for the piece is drawn from a number of letters written by soldiers during the war. Some familiar tunes from that era are quoted throughout in keeping with the theme, and in the final movement, earlier parts of the piece are also quoted. Together these letters and the music depict the narrative of the war, from a building march and a mournful ballad to a joyous celebration and a triumphant finale.This piece is a 3-movement concert piece appropriate for advanced middle school or intermediate high school orchestras. The piece includes brief solos for viola and violin in the second movement.Parts details:Parts for Violin I, Violin II, Viola, Cello, Bass (34 pages)Score is available separately.Beginning intermediate level; appropriate for middle school or high school orchestras. ~8'30
$19.95 ≈
18.19€
Letters from the War (score and parts)
Letters from the War (score and parts)
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String Quartet: 2 violins, viola, cello
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EASY
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J
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Letters from the War
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J. Andres Ballesteros
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1022626 Composed by J. Andres Ballesteros. 20th Century...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1022626 Composed by J. Andres Ballesteros. 20th Century,Contemporary,Patriotic. Score and parts. 59 pages. J. Andres Ballesteros #2835807. Published by J. Andres Ballesteros (A0.1022626). Letters from the War, for string orchestra (score and parts)by J. Andrés Ballesteros (2011, ed. 2016; ASCAP)Letters from the War (2011) was commissioned by Jesse Suggs and the Northern Guilford Middle School Orchestra in the spring of 2010 and was written in commemoration of the 150th anniversary of the beginning of the American Civil War. The inspiration for the piece is drawn from a number of letters written by soldiers during the war. Some familiar tunes from that era are quoted throughout in keeping with the theme, and in the final movement, earlier parts of the piece are also quoted. Together these letters and the music depict the narrative of the war, from a building march and a mournful ballad to a joyous celebration and a triumphant finale.This piece is a 3-movement concert piece appropriate for advanced middle school or intermediate high school orchestras. The piece includes brief solos for viola and violin in the second movement.
$34.95 ≈
31.87€
The Home Coming March (1908) - Concert Band Score and Parts PDF
The Home Coming March (1908) - Concert Band Score and Parts PDF
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Concert band
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INTERMEDIATE
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Contemporary
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E
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Brendan Elliget MAGA 537
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The Home Coming March
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BJE Music
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00 ≈
27.36€
Three Wonderful Letters From Home
Three Wonderful Letters From Home
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Piano, Voice
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James F
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Three Wonderful Letters From H
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.23993 Composed by James F. Hanley. Military life, Guards, Military camps, Moonlight, Campaigns & battles, Bomb...
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Piano and voice - Digital Download SKU: LV.23993 Composed by James F. Hanley. Military life, Guards, Military camps, Moonlight, Campaigns & battles, Bombardment, Correspondence, Mothers & children, Spouses, World War I. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23993). Three Wonderful Letters From Home. Words by Joe Goodwin and Ballard Macdonald. Music by James F. hanley. Published 1918 by Shapiro, Bernstein & Co., 224 West 47th Street in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Military life, Guards, Military camps, Moonlight, Campaigns & battles, Bombardment, Correspondence, Mothers & children, Spouses, World War I. First line reads Three letters left a village bound for somewhere over there.. 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 ≈
5.46€
Letters From the Lost Cause
Letters From the Lost Cause
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Contemporary
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John Carbon
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Letters From the Lost Cause
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John Carbon
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.966198 Composed by John Carbon. Contemporary. Score. 30 pages. John Carbon #2011721. Published by ...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.966198 Composed by John Carbon. Contemporary. Score. 30 pages. John Carbon #2011721. Published by John Carbon (A0.966198). These lyrical songs by American composer John Carbon, written in 2010, are for soprano and/or tenor and piano. The texts are adapted by the composer from Civil War letters and poems.
$6.99 ≈
6.37€
Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
Lorelei from Romanzen und Balladen III, op. 53, Low Voice Transposition in C major
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Classical
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Robert Schumann
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Nicole Elyse DiPaolo
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Lorelei from Romanzen und Ball
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Nicole Elyse DiPaolo
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages....
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Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.799605 Composed by Robert Schumann. Arranged by Nicole Elyse DiPaolo. Romantic Period. 2 pages. Nicole Elyse DiPaolo #3455867. Published by Nicole Elyse DiPaolo (A0.799605). A low-voice-friendly transposition of this relatively little-known Schumann song about the Lorelei (a mythical mermaid-like creature from the Rhine river). It has a one-octave range from C3-C4 as written, so it’s great for an undergraduate singer still sorting out technique. If you would like to commission a customized transposition in another key, please contact me through my website (linked below).About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the Opera Night at North benefit concert with students of IU's top-ranked opera program (among them Accidental Tenor Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .
$4.95 ≈
4.51€
The Spring from The Four Seasons
The Spring from The Four Seasons
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Handbells
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INTERMEDIATE
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Classical
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Antonio Vivaldi
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Cheryl (Sutton) Baker - Bronze
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The Spring from The Four Seaso
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Bronze:FX
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SheetMusicPlus
Handbell - Level 3 - Digital Download SKU: A0.1308228 Composed by Antonio Vivaldi. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Baroque,Chamber,Classic...
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Handbell - Level 3 - Digital Download SKU: A0.1308228 Composed by Antonio Vivaldi. Arranged by Cheryl (Sutton) Baker - Bronze:FX. Baroque,Chamber,Classical,Wedding. Score. 6 pages. Bronze:FX #897457. Published by Bronze:FX (A0.1308228). This delightful arrangement of the first movement of The Spring is perfect for any energetic moment, regardless of season.  Its charm comes from its quick tempo and dynamic contrasts, complete with the sounds of the spring season (perhaps add a bird whistle, rainstick, props, poem, or a nature slide show). The arrangement is for 4, 5, or 6 ringers using two or three octaves of handbells (or handchimes).  Complete assignments and performance notes are enclosed, and the piece is Level 3 when played with six ringers.  This piece may also be performed by four- or six-in-hand ensembles without tables.The piece is in rondeau form, which means that it has a recurring theme (similar to a refrain) and verses that extremely differ from one another.  Rondeau form is usually explained by letters, where A equals the recurring theme, and each other letter like B or C indicate completely differing verses.  The form then looks like this: ABACADAE etcetera. Because of its consistency, both audience and performers alike will look forward to the next time that the A theme appears. Performance time:• 3 minutes.
$2.95 ≈
2.69€
Letters from the East for alto and guitar
Letters from the East for alto and guitar
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Vocal duet
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INTERMEDIATE
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Contemporary
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David Warin Solomons
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Letters from the East for alto
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David Warin Solomons
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SheetMusicPlus
Voice Duet Voice - Level 3 - Digital Download SKU: A0.578435 Composed by David Warin Solomons. 20th Century,Contemporary. 10 pages. David Warin Solomons ...
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Voice Duet Voice - Level 3 - Digital Download SKU: A0.578435 Composed by David Warin Solomons. 20th Century,Contemporary. 10 pages. David Warin Solomons #4792073. Published by David Warin Solomons (A0.578435). A sequence of settings of poems by Reiner Kunze as translated by Ewald Osers
$8.00 ≈
7.30€
Letters from the East for alto and guitar (mp3)
Letters from the East for alto and guitar (mp3)
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Contemporary
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David Warin Solomons
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Letters from the East for alto
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - Digital Download SKU: A0.1059821 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 280. David W...
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Alto Voice,Guitar - Digital Download SKU: A0.1059821 Composed by David Warin Solomons. 20th Century,Contemporary. Full Performance. Duration 280. David Warin Solomons #4792201. Published by David Warin Solomons (A0.1059821). Score: Item # S0.622121 A sequence of settings of poems by Reiner Kunze as translated by Ewald Osers
$2.80 ≈
2.55€
LETTERS FROM A POET IN ITALY "Eighteen in Italy" Mvt. I
LETTERS FROM A POET IN ITALY "Eighteen in Italy" Mvt. I
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Francis Osentowski piano, Mars
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LETTERS FROM A POET IN ITALY "
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Francis Osentowski
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.953857 By Francis Osentowski piano, Marsha Anderson, Soprano. By Francis Osentowski, Music ...
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Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.953857 By Francis Osentowski piano, Marsha Anderson, Soprano. By Francis Osentowski, Music Francis Osentowski, DMA University of North Texas, and Text, Jerry McElveen. Contemporary,Multicultural,Standards,World. Score. 7 pages. Francis Osentowski #6095999. Published by Francis Osentowski (A0.953857). LETTERS FROM A POET IN ITALY - A song cycle in four movements. I. Eighteen in Italy II. Caregiver           III. Colosseum IV. David 2007The songs in my cycle are for voice and piano. They are setting of four poems by Jerry McElveen, Professor Emeritus at Richland College of the Dallas College system. The title refers to texts written during a tour of Italy by a group of college faculty and spouses. On the tour we visited several historic sites around Italy. At the end of the tour, professor McElveen surprised us by reciting a series of poems written during that trip. On hearing his performance, I felt his words were musical and perfect texts to be set to music. The Letters from a Poet in Italy song cycle is the result of our collaboration and has been performed numerous times in the DFW area. A recent performance was sponsored by the art song organization Voces Intimae: the Art of Song. The concert was reviewed by Scott Cantrell Music/Art Critic for the Dallas Morning News and awarded a positive review.  The audio recordings feature soprano Marsha Anderson with my piano accompaniment. Marsha had a distinguished career as an opera singer in Italy for 20 years before returning to Texas as director of the North Lake College Study in Italy program. (She is featured on all recordings except Mvt. III COLOSSEUM. That audio is a synthesizer version).Â
$5.99 ≈
5.46€
Love Letters
Love Letters
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Piano solo
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ADVANCED
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Bonnie Raitt
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Timiothy Stapay/Liberace
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Love Letters
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1320990 By Bonnie Raitt. By Edward Heyman and Victor Young. Arranged by Timiothy Stapay/Liberace. Broadwa...
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Piano Solo - Level 5 - Digital Download SKU: A0.1320990 By Bonnie Raitt. By Edward Heyman and Victor Young. Arranged by Timiothy Stapay/Liberace. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 10 pages. Timothy Stapay #909435. Published by Timothy Stapay (A0.1320990). Love Letters is arranged as performed by famous piano artist, Liberace. This arrangement has all of the sparkle and fireworks that Liberace was known for.  Now you can learn to play this song, in the same sensational style as the world-famous pianist, Liberace.Love Letters is a 1945 popular song with lyrics by Edward Heyman and music by Victor Young. The song appeared, without lyrics, in the movie of the same name performed by Dick Haymes, and was nominated for the Academy Award for Best Original Song in 1945 but lost out to It Might as Well Be Spring. The song has been covered by a number of artists, most notably by Nat King Cole (1957), Ketty Lester (1962), Elvis Presley (1966), and Alison Moyet (1987)Władziu Valentino Liberace(May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor.  He was born in Wisconsin to parents of Italian and Polish origin and enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
$8.99 ≈
8.20€
On the Air (for Brass Quintet & Marimba)
On the Air (for Brass Quintet & Marimba)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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ADVANCED
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Dr
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On the Air
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1158411 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary,Hi...
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Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1158411 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary,Historic. 33 pages. Https://gildedmusicpress.com/ #758693. Published by https://gildedmusicpress.com/ (A0.1158411). The year 2022 marked a milestone for the United States Air Force, as the world’s greatest airpower celebrated 75 years of air and space dominance. Omaha’s classical radio station was also celebrating a milestone year with its 50th anniversary. The resulting composition, cleverly titled “On the Air,†was written to observe both momentous anniversaries. The introduction plays on a cleverly adapted four-bar rhythmic motif that repeats, each time growing in intensity, conjuring images of a radio newsroom about to air breaking news. This opening rhythm is derived from Morse code letters K, V, N, & O (__ . __ | . . . __ | __ . | __ __ __), which is Omaha’s classical radio station. The main melodic theme begins after the intense introduction, stemming from the KVNO motif, and exudes energy worthy of the greatest of celebrations, replete with trumpets punctuating the strains with fanfare-like figures. After the KVNO transition to an exciting new key, the theme occurs a second time in the trumpets before simmering down to the second theme in a slower tempo, intended to be retrospective of the last 75 and 50 years of the two celebrating entities. In homage to the conflicts, sacrifices, and losses during 75 years of Air Force history, this melancholy melody in the horn repeats in octaves with horn and tuba, contrasting with the opening jubilation. However, without starkly “snapping back†to a celebratory mood, the original theme gently makes its reentry in the form of a mellow waltz with duetting trumpets, as a hopeful look to the future. The second iteration of the waltz brings back hints of the Morse code letters in the introduction, as underlying accompaniment to build energy and drive. It pivots fully with the KVNO introductory motif that changes keys while exploding with the recapitulation of the original full theme, intensifying the celebratory mood for the present festivities. The waltz version of the theme comes back, fragmented, hinting toward a fugato treatment. The non-fugal fragmentation is laced with virtuosically ornamented accompanimental lines reminiscent of a British-style brass band, and quickly settles into a full climactic presentation of the waltz iteration. The work ends full circle, with repeated KVNO rhythmic statements, in grand fashion for a firework finale.
$24.95 ≈
22.75€
Filhos da Revolução dos Cravos / Children of the Carnation Revolution
Filhos da Revolução dos Cravos / Children of the Carnation Revolution
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1 Piano, 4 hands
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EASY
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Rudesindo Soutelo
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Filhos da Revolução dos Crav
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Publisher by Rudesindo Soutelo
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.1391632 Composed by Rudesindo Soutelo. 21st Century,Children,Classical,Contemporary. Scor...
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1 Piano,4 Hands,Piano Duet - Level 2 - Digital Download SKU: A0.1391632 Composed by Rudesindo Soutelo. 21st Century,Children,Classical,Contemporary. Score. 14 pages. Publisher by Rudesindo Soutelo #975144. Published by Publisher by Rudesindo Soutelo (A0.1391632). Rudesindo SouteloFilhos da Revolução dos Cravos / Children of the Carnation Revolution (2024) for Piano Duet [ca. 5' 21]ISMN: 979-0-707704-21-9The songs of intervention that filled the revolutionary spirit are perceived by the generations born afterwards as grandfather’s little stories. The children of a revolution are always calm and carefree, but this complacent detachment contains within itself the germs of new tensions that could become the cause and beginning of a new revolution.The original version, for Orff instruments, was written for the Instrumental Group of the Vila Praia de Âncora Primary and Secondary School to celebrate the 50th anniversary of the Carnation Revolution.The generative complex that organises the whole work {6[2, 2, 2], 2, 9[3, 3, 3]} is taken from the number of letters in the words of the title.-oOo-Os cantos de intervenção que preencheram o espÃrito revolucionário são percebidos, pelas gerações que nasceram depóis, como as historinhas do avô. Os filhos duma revolução são sempre calmos e despreocupados, mas essa acomodada distensão encerra em si mesma os germes de novas tensões que podem vir a ser a causa e o princÃpio duma nova revolução.A versão original, para instrumentos Orff, foi escrita para o Grupo Instrumental da Escola Básica e Secundária de Vila Praia de Âncora para assim celebrar o cinquenta aniversário da Revolução dos Cravos.O complexo geratriz que organiza toda a obra {6[2, 2, 2], 2, 9[3, 3, 3]} está tomado do número de letras que contêm as palavras do tÃtulo.
$5.00 ≈
4.56€
Three Chromicons for piano solo
Three Chromicons for piano solo
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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Joseph Dillon Ford
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Three Chromicons for piano sol
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David Warin Solomons
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 2...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.
The sound sample is the live performance.
The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).
Ford explains the significance of these unique scores:
"In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."
"By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."
"Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."
"Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."
"Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."
Video of Chromicon III
https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00 ≈
10.94€
Eight Fragments from Letters of Vincent van Gogh
Eight Fragments from Letters of Vincent van Gogh
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Bertold Hummel
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Eight Fragments from Letters o
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Schott Music - Digital
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SheetMusicPlus
Baritone and string quartet - difficult - Digital Download SKU: S9.Q6601 Composed by Bertold Hummel. This edition: score and parts. Downloadable, Score a...
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Baritone and string quartet - difficult - Digital Download SKU: S9.Q6601 Composed by Bertold Hummel. This edition: score and parts. Downloadable, Score and parts. Op. 84. Duration 19 minutes. Schott Music - Digital #Q6601. Published by Schott Music - Digital (S9.Q6601). German • English.With the Eight Fragments Bertold Hummel has successfully created a most impressive work. Uncommonly concentrated in the evoking of atmosphere and reflecting the texts strongly, these dark grey songs - to quote Ludwig Hirsch - develop a sadly expressive, almost somnambulant charm. These songs seem to have become Bertold Hummel's completely inwardly turned Winterreise, the epigram of a psychosis, full of concealed suggestion and dark references, but always more full of hope. The sun becomes the constantly invoked bearer of hope. The music is highly expressive, exploiting the various performing and bowing possibilities of the stringed instruments and their capacity for nuances to the limits; occasionally oppressive visions in sound appear. It is music in danger, of a most fragile balance. Nor are subtle musical references missing. With only one note, following the word music, harmony and tonality are conjured up.
$33.99 ≈
31.00€
Venezuela
Venezuela
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String Quartet: 2 violins, viola, cello
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EASY
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Jose Luis Armenteros Sanchez a
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Luis Turina and Nonamé MÃ
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Venezuela
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Nonamé Música
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1176600 Composed by Jose Luis Armenteros Sanchez and Pablo Herrero ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1176600 Composed by Jose Luis Armenteros Sanchez and Pablo Herrero Ibarz. Arranged by Luis Turina and Nonamé Música. 20th Century,Classical,Latin,Multicultural,Wedding,World. Score and parts. 9 pages. Nonamé Música #776677. Published by Nonamé Música (A0.1176600). (English below) (De Wikipedia) Venezuela es una canción popular venezolana, con letra y música de [...] Los Relámpagos [...]. La popularidad y el sentimiento que evoca en los venezolanos es tal, que se la considera el cuarto himno de Venezuela, [tras] el Himno Nacional, «Alma llanera» y «Conticinio, del venezolano, Laudelino MejÃas»...Con los millones de venezolanos que hay emigrados por todo el mundo, era casi un crimen no tener esta canción disponible para ellos. Novios y novias lloran por igual al entrar en sus bodas escuchando estos acordes, invitados cantando y abrazándose... Toca mucho el corazón.Mientras el cello hace casi un continuo, viola y violines se van alternando la melodÃa, con multitud de contratemas, adornos, segundas voces y contrapuntos. Una gozada tocarla, muy sencilla además. Cuidado con el calderón del cambio de tono.Arreglo en una página por instrumento para facilitar su interpretación al aire libre. Arcos, matices y letras de ensayo para poder hacer una buena lectura a primera vista. Más arreglos de Nonamé en nuestro canal: Nonamé Música.(From Wikipedia) Venezuela is a popular Venezuelan song, with lyrics and music by [...] Los Relámpagos [...]. The popularity and sentiment it evokes in Venezuelans is such that it is considered the fourth anthem from Venezuela, [after] the National Anthem, Alma llanera and Conticinio, from the Venezuelan, Laudelino MejÃas...With millions of Venezuelans emigrating all over the world, it was almost a crime not to have this song available to them. Grooms and brides alike cry when they enter their weddings listening to these chords, guests singing and hugging each other... It really touches the heart.While the cello plays almost a continuum, the viola and violins alternate the melody, with a multitude of counter-themes, ornaments, second voices and counterpoints. A joy to play it, very simple as well. Beware of the calderón of the change of tone.Arrangement on one page per instrument to facilitate outdoor performance. Bowings, dynamics and rehearsal letters to be able to make a good sightreading. More Nonamé arrangements on our channel: Noname Música.Letra/Lyrics Llevo tu luz y tu aroma en mi pielY el cuatro en el corazónLlevo en mi sangre la espuma del marY tu horizonte en mis ojosNo envidio el vuelo ni el nido al turpialSoy como el viento en la miezSiento el caribe como a una mujerSoy asÃ, ¿qué voy a hacer?Soy desierto, selva, nieve y volcánY al andar dejo una estelaDel rumor del llano en una canciónQue me desvela La mujer que quiero tiene que serCorazón, fuego y espuelasCon la piel tostada como una florDe VenezuelaCon tu paisaje y mis sueños me iréPor esos mundos de DiosY tus recuerdos al atardecerMe harán más corto el caminoEntre tus playas quedó mi niñezTendida al viento y al solY esa nostalgia que sube a mi vozSin querer se hizo canciónDe los montes quiero la inmensidadY del rÃo la acuarelaY de ti los hijos que sembraránNuevas estrellasY si un dÃa tengo que naufragarY el tifón rompe mis velasEnterrad mi cuerpo cerca del marEn Venezuela
$17.99 ≈
16.41€
THE CROWN - FOR STRING QUARTET
THE CROWN - FOR STRING QUARTET
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE/ADVANCED
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Film/TV
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Zimmer, Gregson-Williams, Ba
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Helen Marple-Horvat
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THE CROWN - FOR STRING QUARTET
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Helen Marple-Horvat
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SheetMusicPlus
Violin, Viola, Cello, String Quartet - Advanced Intermediate - Digital Download By Zimmer, Gregson-Williams, Balfe. Arranged by Helen Marple-Horvat. ...
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Violin, Viola, Cello, String Quartet - Advanced Intermediate - Digital Download By Zimmer, Gregson-Williams, Balfe. Arranged by Helen Marple-Horvat. Score, Set of Parts. 22 pages. Published by Helen Marple-Horvat
'The Crown' is an award winning Netflix series that has won the hearts of many people around the world. Hans Zimmer wrote the theme for the main title with Rupert Gregson-Williams, from Wiltshire, composing music for the first series, joined by Lorne Balfe, a Scottish composer for series two.
I have made an arrangement for String Quartet and hope to make more for different combinations of instruments and piano in the future.
As usual my arrangement can be played by professionals for concerts, weddings and events but also tackled by young people. The key is the original one, D minor, which is easy for strings, and younger players can make use of open strings and take as many bows as they need. I have included some bowing as a guide. Most of the double stopping includes one open string but less experienced players can leave out one of the notes where necessary, especially of it is doubled by one of the other players. I have included some 'commas' in this arrangement and recommend recovering the bow and watching the leader like a hawk!
The long ‘piano’ sections will need lots of crescendo and decrescendo markings to sound effective. I put down some ideas, but feel free to experiment. The main thing is that they grow and decay again, to keep up the tension. Without that movement, those soft passages might sound boring, albeit the chords are gorgeous.
I have included a crescendo in the penultimate bar before each new dynamic, but ideally a long crescendo is needed between each new dynamic marking. The texture becomes gradually thicker, which will help, but I am looking forward to Capriccio Quartet recording this one as they are so good at building up excitement.
There must be a great deal of drama at letters D and O. After a massive increase in dynamic I am hoping for a ‘breath’ at the comma, and a very sudden softness for the chords that follow. I also like harmonics for the viola at bars 21-22, giving way to a natural note on the fourth beat of 22. I would like the harmonic in viola to be almost imperceptible as the piece closes out. I haven’t marked it as such, and I couldn’t write a ‘simile’ on the page without clashes of staves or an extra page. I intended it to be a harmonic to the end though.
Please send me any recordings you make because I love to hear people playing my arrangements, even if it is a phone recording, and especially younger players! I am on facebook and I have a Youtube Channel too. Helen Marple-Horvat Songwriter, Arranger, Composer.
$20.00 ≈
18.24€
Wha-Do-Ya Mean?
Wha-Do-Ya Mean?
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Contemporary
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Paul Burnell
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Wha-Do-Ya Mean?
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Paul Burnell
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SheetMusicPlus
Small Ensemble - Digital Download SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Pa...
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Small Ensemble - Digital Download SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.835769). A text piece for one or more speakers with optional rhythmic percussion accompaniment performed ad libitum.Where the text is presented in bold the speakers should speak loudly, giving particular emphasis to text in capital letters. Where the text is presented in non-bold smaller text styles the speakers should speak less loudly or softer. The speakers should vary the pitch of their voice throughout to give emphasis to the structure and to avoid a monotonous tonal delivery. The repeated ‘words’ instinctively suggest a repetitive rhythmic style of delivery - this is fine. The spaces in the text can be interpreted as rests. If there is more than one speaker the performers may either speak in unison throughout or stagger their entries and echo or overlap freely, but without losing the sense of the overall structure of the text. Multiple speakers may also devise co-ordination points within the piece to co-ordinate collective unisons - then drift apart and overlap again. A single speaker could also perform with an echoing sound effect that gives the impression of multiple voices. If performing with percussion, then a pulsed rhythmic style should be used. The percussion may be freely chosen - drum kit, ‘found’ instruments, body percussion, pre-recorded backing track etc. - performing in any rhythmic style, but not detracting from or obscuring the vocal delivery. Programme note: ‘Wha-Do-Ya-Mean?’ was composed in 2008. It was tested as a warm-up exercise for the CoMA London Ensemble, and then developed into a piece, first performed by Paul Burnell at Battersea Arts Centre, London in October 2008 and then included on the 2010 album ‘Sticking with Childish Things’. It has subsequently been performed by CoMA Singers. The inspiration for the piece was derived from an increasingly fractious and reductive argument between two people, where one person was overheard saying What do you mean ‘what do you mean’? This statement illustrated the pointlessness of the argument, and how comically ridiculous and meaningless it had become, and effectively ended it.
$1.99 ≈
1.81€
David Hurd: Sonata for Alto Saxophone and Organ
David Hurd: Sonata for Alto Saxophone and Organ
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Saxophone and Organ
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ADVANCED
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David Hurd
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David Hurd: Sonata for Alto Sa
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Organ - Level 5 - Digital Download SKU: A0.534347 Composed by David Hurd. Concert,Contemporary,Standar...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Organ - Level 5 - Digital Download SKU: A0.534347 Composed by David Hurd. Concert,Contemporary,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3364727. Published by Musik Fabrik Music Publishing (A0.534347). In three movements: 1. Fantasia 2. Aria 3. FugueDavid Hurd was born in Brooklyn, New York, on 27 January 1950. Prior to his under-graduate studies at Oberlin College, he attended both the High School of Music and Art and the Juilliard School. Upon graduation from Oberlin in 1971 (Mus.B.), he was appointed Assistant Organist of Trinity Parish in lower Manhattan where he served under the direction of Larry King. He was appointed to the faculty of Duke University in 1972 concurrent with graduate studies at the University of North Carolina, Chapel Hill. In 1973 he returned to New York as Organist and Music Director at the Chapel of the Intercession, a position he retained until 1978 when he was named Composer in Residence for a season. In 1976 he was appointed to the faculty of The General Theological Seminary in New York City where he is presently Professor of Church Music and Organist. In addition, has served as Director of Music at All Saints Church, New York City, from 1985 to 1997 and is currently Director of Music at The Church of the Holy Apostles. In 1977 he was awarded first prizes both in organ playing and in improvisation at the International Congress of Organists. He has concertized throughout North America since that time under the representation of Phillip Truckenbrod. He has performed both at National and Regional Conventions of the American Guild of Organists. In 1981 he was invited to perform at the Internationaal Orgelfestival Haarlem, meeting in Gouda, the Netherlands, during which he received the diploma for improvisation of the Stichting Internationaal Orgelconcours. His principal organ teachers were Bronson Ragan, Garth Peacock, and Arthur Poister. In 2009, Dr. Hurd was named the 15th Distinguished Composer of the American Organ Guild. Other composers who have received this award include Virgil Thomson, Ned Rorem, Daniel Pinkham, Conrad Susa, William Bolcom and Dominick Argento. Dr. Hurd will be honored at a special concert during the 2010 AGO convention which will feature a newly commissioned work. He has received many commissions for choral, organ, and instrumental works, and has composed much liturgical music. Among his published works are organ pieces, choral works and many original hymn settings. His liturgical compositions and arrangements are also found in several major hymnals. He served on the Standing Commission on Church Music of the Episcopal Church from 1976 to 1985. He has been a visiting lecturer at the Yale Institute of Sacred Music and a visiting professor at the Yale School of Music. In 1987 he was awarded the degree of Doctor of Music, honoris causa, by the Berkeley Divinity School at Yale. The following year he received two honorary degrees; the Doctor of Sacred Music from The Church Divinity School of the Pacific, Berkeley, California, and the Doctor of Humane Letters from Seabury-Western Theological Seminary, Evanston, Illinois.
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