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Sit Down Beside Me
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You've selected:
Sit Down Beside Me
Sheetmusic to print
19 sheet music found
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1
Sit Down Beside Me
Sit Down Beside Me
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Piano solo
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INTERMEDIATE
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Mikhail Stein, Patrick Watson,
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M
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Sit Down Beside Me
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Magdalena Galka
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1133926 Composed by Mikhail Stein, Patrick Watson, Robert Kuster, and Simon Angell. Arranged by M. Galka....
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Piano Solo - Level 3 - Digital Download SKU: A0.1133926 Composed by Mikhail Stein, Patrick Watson, Robert Kuster, and Simon Angell. Arranged by M. Galka. Contemporary,Pop. Score. 5 pages. Magdalena Galka #734051. Published by Magdalena Galka (A0.1133926). Sit Down Beside Me by Patrick Watson | Piano Sheet Music, arranged for Piano Solo, 5 pages.Check out my social media for more!♬ YouTube♬ Spotify ♬ Apple Music♬ Amazon Music♬ Instagram ♬ TikTok
$4.99
Come Sit Down Beside Me Easy Piano Sheet Music
Come Sit Down Beside Me Easy Piano
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Easy Piano
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BEGINNER
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Traditional Celtic
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SilverTonalities
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Come Sit Down Beside Me Easy P
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SilverTonalities
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.644516 Composed by Traditional Celtic. Arranged by SilverTonalities. Celtic,Folk,World. Score. 4 pages. S...
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Easy Piano - Level 1 - Digital Download SKU: A0.644516 Composed by Traditional Celtic. Arranged by SilverTonalities. Celtic,Folk,World. Score. 4 pages. SilverTonalities #3510277. Published by SilverTonalities (A0.644516). Traditional Irish Folk Song for Easy PianoEasy Note Style Sheet Music
$3.99
The Leaving of Liverpool for Easy Piano
The Leaving of Liverpool for Easy Piano
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Easy Piano
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BEGINNER
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Traditional Celtic Folk Songs
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SilverTonalities
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The Leaving of Liverpool for E
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SilverTonalities
#
SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.1243795 Composed by Traditional Celtic Folk Songs. Arranged by SilverTonalities. Celtic,Folk,Instructiona...
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Easy Piano - Level 1 - Digital Download SKU: A0.1243795 Composed by Traditional Celtic Folk Songs. Arranged by SilverTonalities. Celtic,Folk,Instructional,Irish. Score. 30 pages. SilverTonalities #838766. Published by SilverTonalities (A0.1243795). The Leaving of Liverpool for Easy PianoCeltic Mists Series for Novice Pianists by SilverTonalities Featuring the popular “The Leaving of Liverpoolâ€, and also Including 10 Traditional Irish Folk Songs, with Letter Names Embedded in Noteheads to increase the ability to recognize Musical Pitch and Read Music Quickly and AccuratelyPREVIEW, pages 1-2THE BOYS OF COOMANORE, pages 3-5THE DAIRY MAID, pages 6-8THE FOX AND HIS WIFE, pages 9-10I MET HER IN THE GARDEN, pages 11-12THE MORNING STAR, pages 13-14THE PARTING GLASS, pages 15-17SIT DOWN BESIDE ME, pages 18-19THE LEAVING OF LIVERPOOL, pages 20-22THE MANTLE SO GREEN, pages 23-24WITH BIDDY BY MY SIDE, pages 25-26WITHIN THIS VILLAGE DWELLS A MAID, pages 27-28.
$9.99
Enchanted Ivories for Easiest Piano Booklet H
Enchanted Ivories for Easiest Piano Booklet H
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Easy Piano
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BEGINNER
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Traditional Celtic
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SilverTonalities
#
#
Enchanted Ivories for Easiest
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SilverTonalities
#
SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.644615 Composed by Traditional Celtic. Arranged by SilverTonalities. Celtic,Folk,World. Score. 9 pages. S...
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Easy Piano - Level 1 - Digital Download SKU: A0.644615 Composed by Traditional Celtic. Arranged by SilverTonalities. Celtic,Folk,World. Score. 9 pages. SilverTonalities #3568029. Published by SilverTonalities (A0.644615). Enchanted Ivories For Easiest Piano Booklet HTraditional Celtic Folk Songs for Beginner and Novice Pianists by SilverTonalities!Letter Names Embedded in NoteheadsFor Quick and Easy Reading! Booklet H includes:- A Rich Irish Lady- The Bantry Girl’s Lament - Come Sit Down Beside Me
$5.99
This Is Me
This Is Me
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Choral 3-part
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INTERMEDIATE
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1 Click Beats
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Tom Rodgers
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This Is Me
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Tom Rodgers
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SheetMusicPlus
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1280090 By 1 Click Beats. By Benj Pasek and Justin Paul. Arranged by Tom Rodgers. 21st Century,Br...
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1280090 By 1 Click Beats. By Benj Pasek and Justin Paul. Arranged by Tom Rodgers. 21st Century,Broadway,Film/TV,Musical/Show,Pop. Octavo. 8 pages. Tom Rodgers #871512. Published by Tom Rodgers (A0.1280090). The Greatest Showman was one of the great musical hits of the movies of 2017, featuring the great Hugh Jackman alongside Zac Efron, Rebecca Ferguson and many other superb actors/actresses beside, that told the story of the life of P.T. Barnum and the creation of the Barnum & Bailey Circus, founded in the early 19th Century. The film flew to the top of the ratings, bringing in $435m dollars worldwide. All nine songs were received to great acclaim by the public and this arrangement of This Is Me is for SAB and piano, for an intermediate standard choir. With its positive message of defiance and confidence in being oneself, this is a sure fire hit for any summer concert or performance of uplifting songs.
$4.99
Who Can I Turn To (when Nobody Needs Me)
Who Can I Turn To (when Nobody Needs Me)
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Choral 3-part
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INTERMEDIATE
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Anthony Newley and Leslie Bric
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Tom Armbruster
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Unity.
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Who Can I Turn To
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Tom Armbruster
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1291692 Composed by Anthony Newley and Leslie Bricusse. Arranged by Tom Armbruster. Broadw...
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Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1291692 Composed by Anthony Newley and Leslie Bricusse. Arranged by Tom Armbruster. Broadway,Musical/Show,Religious,Spiritual,Standards. 7 pages. Tom Armbruster #882298. Published by Tom Armbruster (A0.1291692). Here at Songs For New Thought we’re all about turning our perception a fraction of an inch to see an older concept in a new, and more spiritual light. This Broadway favorite from the 60’s becomes an intimate prayer to a higher power. We all need a star to guide us and someone to walk beside us. The Songs For New Thought collection offers pop songs which are suitable for expressing spiritual truth. They contain positive messages of love, peace and unity.New Thought, Unitarian Universalist, Agape, Centers for Spiritual Living, Religious Science, Science of Mind, Spirit, Peace, Love & Unity.
$2.20
Dvorak: Songs My Mother Taught Me, Op.55 - String Trio, or 2 Violins and Cello
Dvorak: Songs My Mother Taught Me, Op.55 - String Trio, or 2 Violins and Cello
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String Trio: violin, viola, cello
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INTERMEDIATE
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Classical
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Antonin Dvorak
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Abolin
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Dvorak: Songs My Mother Taught
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Abolin
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SheetMusicPlus
String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1034592 Composed by Antonin Dvorak. Arranged by Abolin. 19th Century,Chamber,Classica...
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String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1034592 Composed by Antonin Dvorak. Arranged by Abolin. 19th Century,Chamber,Classical,Romantic Period,Wedding. 8 pages. Abolin #639958. Published by Abolin (A0.1034592). Score and Parts. This arrangement of Songs My Mother Taught Me is for a string trio (Violin, Viola, Cello), or for 2 Violins and Cello with the alternative Violin II part instead of the viola part. Some bowings and fingerings are provided. For more chamber music transcriptions for strings, please visit TakeshiAbo.com. Besides a list of music available, you will also find articles on violin playing and other useful information for string players at the website.
$6.99
My Song Shall Be of Thee (for FLUTE and/or VIOLIN Duet with PIANO Accompaniment)
My Song Shall Be of Thee (for FLUTE and/or VIOLIN Duet with PIANO Accompaniment)
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Piano Accompaniment
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EASY
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Sacred music
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Sharon Wilson
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Sharon Wilson and Sharon Wilso
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My Song Shall Be of Thee
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Sharon Wilson
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SheetMusicPlus
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1272501 By Sharon Wilson. By D. S. Hakes and DS Hakes. ...
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1272501 By Sharon Wilson. By D. S. Hakes and DS Hakes. Arranged by Sharon Wilson and Sharon Wilson Music. 20th Century,Christian,Easter,Praise & Worship,Sacred. 22 pages. Sharon Wilson #864726. Published by Sharon Wilson (A0.1272501). Here is a flowing instrumental trio arrangement (for FLUTE and/or VIOLIN duet with PIANO accompaniment) of a beautiful hymn from the early 1900's titled My Song by D. S. Hakes. The original lyrics were inspired by the following Bible verse: The Lord is my strength and song. Psalm 118:14. This hymn may be better known by its Spanish title Mi Redentor es Cristo (O Jesus, my Redeemer) when used with lyrics translated by Edgar L. Maxwell. The original lyrics by F. E. Belden are shown below.Both the FLUTE and the VIOLIN get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The FLUTE plays the melody for the first verse and then the two instruments alternate for the second verse. The VIOLIN leads with the melody for the third verse. The song begins in the key of C major for the first two verses, then transitions to the key of G major during the piano interlude before the final verse.Though notated with FLUTE on part 1 and VIOLIN on part 2, the ranges are also accessible for other combinations of C instruments such as 2 VIOLINS or 2 FLUTES. The range for each part is as follows: Part 1 (FLUTE) ~ G4 to B5; Part 2 (VIOLIN) ~ D4 to G5. For the violin on either part, all notes are playable in the first position making this piece an excellent choice for early intermediate string players. Duration 3:00.The purchase price includes these printing options: 1. a grand staff (9 pages) with all parts on each page2. separate scores for the FLUTE and VIOLIN (2 pages each) and PIANO (4 pages)3. a combined FLUTE and VIOLIN score (3 pages)Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicLyrics by F. E. Belden Verse 1:O Jesus, my Redeemer, Thou art my Joy and Song,My Saviour and my Solace when griefs around me throng.Chorus:O Jesus, my Redeemer, My song shall be of thee;No other Friend so constant, no friend so dear to me.Verse 2:Thou art my Hope and Comfort through all the weary years,When shadows dark surround me, when all the bitter tears.Verse 3:I trust in Thee, my Saviour, My faithful Friend and Guide;For thou to me art dearer than all on earth beside.
$5.99
My Song Shall Be of Thee (for VIOLIN and CELLO Duet with PIANO Accompaniment)
My Song Shall Be of Thee (for VIOLIN and CELLO Duet with PIANO Accompaniment)
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Piano Trio: piano, violin, cello
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EASY
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Sacred music
#
Sharon Wilson
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Sharon Wilson and Sharon Wilso
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My Song Shall Be of Thee
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Sharon Wilson
#
SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1272842 By Sharon Wilson. By D. S. Hakes, DS Hakes, and F. E. Belden. Arranged by Shar...
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Piano Trio Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1272842 By Sharon Wilson. By D. S. Hakes, DS Hakes, and F. E. Belden. Arranged by Sharon Wilson and Sharon Wilson Music. 20th Century,Christian,Easter,Praise & Worship,Sacred. 22 pages. Sharon Wilson #865039. Published by Sharon Wilson (A0.1272842). Here is a flowing instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of a beautiful hymn from the early 1900's titled My Song by D. S. Hakes. The original lyrics were inspired by the following Bible verse: The Lord is my strength and song. Psalm 118:14 This hymn may be better known by its Spanish title Mi Redentor es Cristo (O Jesus, my Redeemer) when used with lyrics translated by Edgar L. Maxwell. The original lyrics by F. E. Belden are shown below.Both the VIOLIN and the CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The song begins in the key of C major for the first and second verses, then transitions to the key of G major during the piano interlude before the third and final verse.The range for each part is as follows: VIOLIN ~ G4 to B5; CELLO ~ G2 to D4. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player.  Duration 3:00.The purchase price includes these printing options: 1. a grand staff (9 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (4 pages)3. a combined VIOLIN and CELLO score (3 pages)Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusicLyrics by F. E. Belden Verse 1:O Jesus, my Redeemer, Thou art my Joy and Song,My Saviour and my Solace when griefs around me throng.Chorus:O Jesus, my Redeemer, My song shall be of thee;No other Friend so constant, no friend so dear to me.Verse 2:Thou art my Hope and Comfort through all the weary years,When shadows dark surround me, when all the bitter tears.Verse 3:I trust in Thee, my Saviour, My faithful Friend and Guide;For thou to me art dearer than all on earth beside.
$5.99
20 Easy Hymns and Spirituals, BOOK 2 (Beginner Piano Solos)
20 Easy Hymns and Spirituals, BOOK 2 (Beginner Piano Solos)
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Easy Piano
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BEGINNER
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Gospel/Spiritual
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Sacred music
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Sharon Wilson
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Sharon Wilson
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20 Easy Hymns and Spirituals,
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Sharon Wilson
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.1374779 By Sharon Wilson. By African-American Spiritual, Conrad Kocher, Edwin O. Excell, Fanny J. Crosby,...
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Easy Piano - Level 1 - Digital Download SKU: A0.1374779 By Sharon Wilson. By African-American Spiritual, Conrad Kocher, Edwin O. Excell, Fanny J. Crosby, Folk Song, George Job Elvey, Isaac Watts, John Bacchus Dykes, John Newton, Lelia Naylor Morris, Ludwig van Beethoven, and Robert Lowry. Arranged by Sharon Wilson. Christian,Easter,Folk,Holiday,Spiritual. Score. 41 pages. Sharon Wilson #959310. Published by Sharon Wilson (A0.1374779). Beginner Piano SolosMiddle C PositionFive-Finger formatThis is a collection of 20 hymns and spirituals arranged for beginning piano students. These arrangements are formatted in the traditional five-finger style with the melody split between the hands and without key signatures.  All 20 songs are written in Middle C Position where all notes are played singly centered around Middle C (diagrams are provided showing notes and finger placement). No fingering is notated on the sheet music to encourage students to learn to read the notes instead of using the fingering numbers to play the song. Thus, this collection makes a great sight-reading book, especially if some of the songs are unfamiliar. Some songs require playing the B-flat note in the left hand or the F-sharp note in the right hand. For the few songs that use one of these two black notes, the flats or sharps are displayed beside the note on the staff, not in the key signature (special diagrams are provided showing finger placement for the sharps and flats used).These arrangements are perfect for introducing classic Christian songs to beginning pianists. They can be used as supplementary repertoire for first year piano students. Lyrics are included for sing-along enjoyment.Song titles included in this collection:   Always CheerfulAmazing GraceCount Your BlessingsCrown Him with Many CrownsFootsteps of JesusFor the Beauty of the EarthHoly, Holy, HolyI Have Decided to Follow JesusI Shall Not Be MovedI'm So Glad Jesus Lifted MeJesus Shall ReignJoyful, Joyful, We Adore TheeNearer, Still NearerPeace Is Flowing Like a RiverStand Up! Stand Up for Jesus!Sweet By and ByThere Is Joy in That LandThis Little Light of MineWe Gather TogetherWhiter Than SnowVisit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$10.00
20 Easy Hymns and Spirituals, BOOK 1 (Beginner Piano Solos)
20 Easy Hymns and Spirituals, BOOK 1 (Beginner Piano Solos)
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Easy Piano
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BEGINNER
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Sacred music
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Sacred music
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Sharon Wilson
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Sharon Wilson
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20 Easy Hymns and Spirituals,
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Sharon Wilson
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.1374785 By Sharon Wilson. By African-American Spiritual, Elisha Albright Hoffman, Fanny J. Crosby, Georg ...
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Easy Piano - Level 1 - Digital Download SKU: A0.1374785 By Sharon Wilson. By African-American Spiritual, Elisha Albright Hoffman, Fanny J. Crosby, Georg C. Strattner, Horatio G. Spafford, John H. Stockton, Martin Luther, Philip P. Bliss, Rowland Hugh Prichard, and William J. Kirkpatrick. Arranged by Sharon Wilson. Children,Christian,Easter,Sacred,Spiritual. Score. 40 pages. Sharon Wilson #959316. Published by Sharon Wilson (A0.1374785). Beginner Piano SolosMiddle C PositionFive-Finger formatThis is a collection of 20 hymns and spirituals arranged for beginning piano students. These arrangements are formatted in the traditional five-finger style with the melody split between the hands and without key signatures.  All 20 songs are written in Middle C Position where all notes are played singly centered around Middle C (diagrams are provided showing notes and finger placement). No fingering is notated on the sheet music to encourage students to learn to read the notes instead of using the fingering numbers to play the song. Thus, this collection makes a great sight-reading book, especially if some of the songs are unfamiliar. Some songs require playing the B-flat note in the left hand or the F-sharp note in the right hand. For the few songs that use one of these two black notes, the flats or sharps are displayed beside the note on the staff, not in the key signature (special diagrams are provided showing finger placement for the sharps and flats used).These arrangements are perfect for introducing classic Christian songs to beginning pianists. They can be used as supplementary repertoire for first year piano students. Lyrics are included for sing-along enjoyment.Song titles included in this collection:   A Mighty FortressAlleluia! Sing to Jesus (HYFRYDOL)Blessed Be the NameFather, Lead Me Day by DayGlory to His NameHow Firm a FoundationI'm Gonna SingI've Got Peace Like a RiverIt Is Well with My SoulJesus Bids Us ShineJesus Is a Rock in a Weary LandNothing But the BloodOnly Trust Him RedeemedShall We Gather at the RiverThere Is a Happy LandWe Are Climbing Jacob's LadderWe Shall OvercomeWhat Heavenly MusicWhat a Wonderful SaviorVisit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$10.00
Australian Folksong Medley No. 6 - String Group (Optional Percussion)
Australian Folksong Medley No. 6 - String Group (Optional Percussion)
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String Orchestra
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INTERMEDIATE
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Folkloric/Traditional
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Traditional Australian Folkson
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Brendan Elliget MAGA 537
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Australian Folksong Medley No.
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BJE Music
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.750794 Composed by Traditional Australian Folksongs. Arranged by Brendan Elliget MAGA 537. Folk. Sc...
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String Orchestra - Level 3 - Digital Download SKU: A0.750794 Composed by Traditional Australian Folksongs. Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 33 pages. BJE Music #3602315. Published by BJE Music (A0.750794). Australian Folksong Medley No. 6 – String Group with Optional Percussion - Suitable for a school or community group.​This Medley includes:​1. The Dying Stockman (3/4 Waltz Tempo): Wrap me up with my stockwhip and blanket And bury me deep down below. Where the dingoes and crows can't molest me In the shade where the Coolibahs grow.​2. Jim Jones of Botany Bay (6/8 Adagio in 6) is a traditional Australian folk ballad. The narrator, Jim Jones, is arrested, tried, and sentenced to transportation. En route, his ship is attacked by pirates, but the crew holds them off. Arriving in Australia, Jones vows to escape, join the bushrangers, and get revenge.​3. The Drovers Dream (6/8 Brightly in 2)One night when traveling sheep, my companions lay asleep There was not a star illuminate the sky. I was dreaming I suppose, for my eyes were partly closed. When a very strange procession passed me by. First there came a kangaroo with a swag of blankets blue. And the dingo ran beside him as his mate. They were traveling mighty fast but they shouted as they passed. We'll have to jog along, it's getting late.​This arrangement is for String Orchestra with plenty of interest for all sections. There are also Optional Percussion parts - Timpani, Drum Set, Glockenspiel, and Xylophone. There is a Violin 3 part which is a substitute for the Viola Part.There are also versions for Full Orchestra, Concert Band and Brass Band at this website.​The MP3 was recorded with NotePerformer 3.​Grade = 3 Duration = 5:30 mins.
$15.00
The Flowing River
The Flowing River
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Concert band
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INTERMEDIATE/ADVANCED
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Wesley Besancon
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Wesley Besancon
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The Flowing River
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1161489 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Chamber,Contest,Festival,S...
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Concert Band - Level 4 - Digital Download SKU: A0.1161489 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Chamber,Contest,Festival,Spiritual. Score and Parts. 14 pages. Wesley Besancon #761847. Published by Wesley Besancon (A0.1161489). Program Notes:Composer Wesley Besancon always liked going out and sitting next to rivers. Well, he has discovered a riverbed beside his house, and has decided to write a composition about it! This is a slow, lyrical, and free piece to help give people the surreal experiance of being beside a river. The surrogate feeling coming off of the river and onto the land is strong within this piece! I hope you enjoy The Flowing River.Notes to Conductor:This is supposed to feel timeless (kind of without a time signiture) so do whatever you can to give that feeling.Start the Riveraudio file and when you hear a crackling sound, start the piece.The Forest file should start at 57.The Riverend file should start on the last pausing measure (92)To get these files, email me at Wesleybesancon@gmail.com.
$4.99
The Flowing River
The Flowing River
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Concert band
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INTERMEDIATE/ADVANCED
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Wesley Besancon
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Wesley Besancon
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The Flowing River
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1161478 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Chamber,Contest,Festival,S...
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Concert Band - Level 4 - Digital Download SKU: A0.1161478 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Chamber,Contest,Festival,Spiritual. Score and Parts. 48 pages. Wesley Besancon #761833. Published by Wesley Besancon (A0.1161478). Program Notes:Composer Wesley Besancon always liked going out and sitting next to rivers. Well, he has discovered a riverbed beside his house, and has decided to write a composition about it! This is a slow, lyrical, and free piece to help give people the surreal experiance of being beside a river. The surrogate feeling coming off of the river and onto the land is strong within this piece! I hope you enjoy The Flowing River.Notes to Conductor:This is supposed to feel timeless (kind of without a time signiture) so do whatever you can to give that feeling.Start the Riveraudio file and when you hear a crackling sound, start the piece.The Forest file should start at 57.The Riverend file should start on the last pausing measure (92)To get these files, email me at Wesleybesancon@gmail.com
$44.99
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
Bridges, Op. 136 (for Brass Quintet and Chimes)
Bridges, Op. 136 (for Brass Quintet and Chimes)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Dr
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Bridges, Op. 136
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https://gildedmusicpress.com/
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SheetMusicPlus
Brass Quintet - Level 4 - Digital Download SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World...
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Brass Quintet - Level 4 - Digital Download SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Https://gildedmusicpress.com/ #1066350. Published by https://gildedmusicpress.com/ (A0.1489487). One of my last assignments as an Air Force musician before being stationed in Japan was to perform music in support of the 50th commemoration of what has become known in America as “Vietnam Memorial Day.” It is observed on March 29 every year, the date when the last U.S. troops withdrew from Vietnam in 1973. After the memorable ceremony in 2023, I lingered to talk with those mature veterans and to hear some of their experiences. It was a strange feeling when I told them that my first assignment at my new duty station in Japan would be a series of cultural exchange performances in Vietnam. What a somber generational bridge.I was only in Japan for a matter of days, including some intense rehearsals, before Pacific Brass (the brass quintet from the U.S. Air Force Band of the Pacific) packed up and headed to Hanoi to start our brief musical outreach in three cities. My reflections were sobering as I contrasted my military service in Vietnam with the veterans whom I had just honored three months prior. During some off-duty time, all five of the Pacific Brass military musicians found our way to the well-known Hòa Ló Prison, infamously known as the “Hanoi Hilton.” Indeed, how vastly different was my brief military service in Vietnam!To the Vietnamese people, the “American War,” as they call it, is ancient history. They are extremely forward-thinking, putting those dark years far from them, looking to the bright future that is theirs. What an educational bridge of paradigms. Although it was important for us as U.S. Servicemembers to witness the Hòa Ló Prison firsthand, our lot was to experience the beautiful present-day Vietnam with its rich culture of food, street shops, temples, dance, music, and other wonders that awed us all—including gongs!Our trombone player purchased a gong in a shop that sold little else besides gongs of all sizes and pitches. That struck me as quintessentially Vietnamese, and the sights and sounds of that modest shop lingered in my imagination. As we absorbed the extraordinary majesty of the Temple of Literature in Hanoi, ideas for this musical composition started to formulate as a bridge connecting American musical culture with Vietnamese traditional gongs. For practicality in both notation and live performance, I scored the consort of 18 glorious “gongs” in my head for orchestral tubular bells. It is a passionate hope that someday in a video presentation, a masterful cultural bridge of the two diverse countries will be crafted. Better yet, what an experience it would be to have a legitimate gong consort perform live with Pacific Brass!The year of our visit, as we were coached many times by the Embassy’s Attaché, was a milestone landmark between the two nations, worthy of praise and celebration: the ten-year anniversary of the U.S.-Vietnam Comprehensive Partnership, signed by Presidents Obama and Sang in July 2013. This bilateral relationship has bridged both nations’ commitment to economic engagement, cultural exchange, tourism, education, and human rights. This composition is in celebration of this Comprehensive Partnership and a gift to the wonderful people of Vietnam. May this music contribute to a continuing growth of positive relations bridging the two nations.
$24.95
Madrigal Pavane / Timburibá
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburibá
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digit...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
Psalm 23 - Timeless
Psalm 23 - Timeless
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Choral SATB
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EASY
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John R
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Psalm 23 - Timeless
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John R. Daniels
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.492631 Composed by John R. Daniels. Celtic,Folk,Irish,Praise & Worship,Traditional. Octavo. 9 pa...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.492631 Composed by John R. Daniels. Celtic,Folk,Irish,Praise & Worship,Traditional. Octavo. 9 pages. John R. Daniels #107904. Published by John R. Daniels (A0.492631). Psalm 23 – Timeless is a choral setting of the well-known Psalm using the Mixolydian Mode, which gives it the sound of an Irish folk song. Although it is short at one and a half minutes, it uses a number of musical devices to make it seem larger. Besides a piano part, it has chords for a stringed instrument such as guitar or mandolin. If you really want to add some flavor to it, the top line of the piano part could be played by a recorder, penny whistle, etc. whenever there is no one singing. IF YOU WOULD LIKE YOUR ENSEMBLE TO GAIN MORE MEDIA EXPOSURE, please record your performance of this piece and email it to CustomMusic@Salt-Cellar-Creations.com. It will be included in my social media postings and website samples with any contact info you may want to provide. If you need help with recording technique or email transfer, etc. please contact me. For more information about the arranger and other services, go to www.Salt-Cellar-Creations.com.
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Sit Down Beside Me
