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You've selected:
The Plain Gold Ring
Sheetmusic to print
22 sheet music found
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1
The Plain Gold Ring
The Plain Gold Ring
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Piano, Voice
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C
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Carl Maria von Weber
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The Plain Gold Ring
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.1482 Composed by Carl Maria von Weber. Courtship, Love, Soldiers, Gifts, War. Lester S. Levy Collection. 4 pag...
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Piano and voice - Digital Download SKU: LV.1482 Composed by Carl Maria von Weber. Courtship, Love, Soldiers, Gifts, War. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.1482). The Plain Gold Ring. The Words by W.T. Moncrieff, Esq. Adapted to an Air in Der Freyschutz. By C.M. Von Weber. Published [n.d.] by Dubois & Stodart, 126 Broad Way in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Courtship, Love, Soldiers, Gifts, War. First line reads He was a chief of low degree, a lady high and fair was she.. 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Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents.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 ≈
5.53€
The Unquiet Grave from American Death Ballads (Downloadable)
The Unquiet Grave from American Death Ballads (Downloadable)
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High voice
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. ...
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50 ≈
3.23€
Ring of the Nibelung compilation of Excerpts for Low Brass
Ring of the Nibelung compilation of Excerpts for Low Brass
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Classical
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Richard Wagner
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Fissel, Stephen
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Ring of the Nibelung compilati
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Gordon Cherry
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SheetMusicPlus
Large Ensemble Bass Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792335 Composed by Richard Wagner. Arranged by Fissel, Stephen. 20th Centu...
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Large Ensemble Bass Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792335 Composed by Richard Wagner. Arranged by Fissel, Stephen. 20th Century,Opera,Romantic Period,Standards. Score and parts. 129 pages. Gordon Cherry #4804647. Published by Gordon Cherry (A0.792335). This collection of orchestral excerpts from Der Ring des Nibelungen by Stephen Fissel represents some of the major portions of this great music that Richard Wagner composed for low brass. The selection of these excerpts comes from Mr. Fissel's own experience in preparing and performing the Ring Cycle with Seattle Opera. In conjunction with Ring performances in Seattle, he and his colleagues would often rehearse these sections and present them in a concert along with commentary to explain their importance, either elucidating a musical aspect or an element of plot narrative, or from the standpoint of the development of the low brass instruments of the orchestra. For the serious orchestral low brass performer, Mr. Fissel's compilation is a wonderful way to experience the highlights of Wagner's operatic genius embodied in the four Ring Cycle operas: Das Rheingold, Die Walkyrie, Siegfried and Gotterdammerung. There are 22 major excerpts from the four operas for Bass Trumpet (part supplied for original keys and transposed version in C or may be played by a Tenor Trombone), 2 Tenor Trombones, Bass Trombone, Contrabass Trombone (can be performed on a Bass Trombone as well), Tuba and a coil bound full score. Included in the 22 excerpt Fissel compilation are the following famous excerpts: Ride of the Walkyrie, Entrance of the Gods into Valhalla, Wotan's Farewell, Dragon Scene from Siegfried, Siegfried's Rhine Journey, Siegfried's Funeral Music and Walhalla, Spear and Immolation Scene (finale).
$40.00 ≈
36.92€
ColorAll Violin Fingering and Piano String Sampler Sheet Music
ColorAll Violin Fingering and Piano String Sampler
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Violin and Piano
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EASY
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Contemporary
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Robin Kay Deverich
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ColorAll Violin Fingering and
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Global Music School String Publications
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SheetMusicPlus
Piano,Violin - Level 2 - Digital Download SKU: A0.902216 Arranged by Robin Kay Deverich. Contemporary. 255 pages. Global Music School String Publications...
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Piano,Violin - Level 2 - Digital Download SKU: A0.902216 Arranged by Robin Kay Deverich. Contemporary. 255 pages. Global Music School String Publications #5355093. Published by Global Music School String Publications (A0.902216). This combined version of the of the Piano Accompaniment and Violin Online String Sampler: ColorAll Fingering Violin Music is a fun and easy way to actively learn, study and play beautiful violin music from a wide variety of styles and eras. 54 pieces are featured, representing music history periods, cultures and styles such as Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century, Fiddle, Klezmer, Gypsy, Chinese, Greek, Carnatic, Arabic, Mariachi, Ragtime and Blues. These arrangements have been simplified for advanced beginners to intermediate players, and include a representative sampling of most major forms of string music such as concertos, symphonies, sonatas, quartets and trios. If you need help with fingering, this ColorAll Fingering version of Violin Online String Sampler Violin Music is a simple and easy way to quickly begin playing the violin sheet music. ColorAll Fingering is a patented approach to violin playing, and uses colored violin fingering numbers over each note to indicate which string should be used to play the fingered notes: blue fingering numbers, play these notes on the G string; gold fingering numbers, play these notes on the D string; green fingering numbers, play these notes on the A string; purple fingering numbers, play these notes on the E. As an added bonus, sound files of each piece and a study guide are currently available on the website ViolinOnline.com* as a self-guided class specifically designed to accompany this music: https://www.violinonline.com/stringclass.html The study guide explains the history and musical form of the selected pieces, and includes violin technique tips for each piece of music. Let the music begin!*No guarantees are made that these sound files and website will be available indefinitely.Pieces include: Columba aspexit by Hildegard of Bingen; Sixth Royal Estampie from Chansonnier du Roy; Helas Madame; Kemp’s Jigg; Fantasia by Lupo; Minuet from The Fiddle New Model’d by Crome; Rondeau by Purcell; Hornpipe from Water Music by Handel; La Folia medley by Marais, Corelli, and Vivaldi; Double Violin Concerto in A Minor, Op. 3, No. 8, 1st movement by Vivaldi; Prelude from Cello Suite I in G Major by Bach; Allegro from Brandenburg Concerto No. 5 by Bach; Kyrie from Messa a 4 con violini by Cazzati; Medley: He Shall Feed His Flock Like a Shepherd and Hallelujah Chorus from Messiah by Handel; Arioso from Cantata No.156 by Bach; Ave Verum Corpus, K. 618 by Mozart; Adagio from Violin Concerto No. 3 in G by Mozart; Andante from String Quartet No. 13 in Am by Schubert; Andante from Emperor Quartet in C major by Haydn; Surprise Symphony No. 94, 2nd movement by Haydn; Pastoral Symphony No. 6, 1st and 5th movements by Beethoven; Hungarian Dance No. 5 by Brahms; The Moldau from Ma Vlast by Smetana; Halling from 25 Norwegian Folksongs and Dances by Grieg; Emperor Waltz by Strauss; Vieille Chanson by Viardot; Andante from Violin Concerto in E Minor by Mendelssohn; Allegro and Adagio from Cello Concerto in B minor by Dvorak; Notturno from String Quartet No. 2 in D major by Borodin; Elegy Op. 44 for Viola and Piano by Glazunov; Barcarolla from Sonata in Bb for Viola and Piano by Vieuxtemps; Ave Maria from a theme by J.S. Bach by Gounod/Bach; Sicilienne Op. 78 for cello and piano by Fauré; Meditation from Thaïs by Massenet; Habanera from Carmen by Bizet; Reed Flutes from The Nutcracker Suite by Tchaikovsky; Overture from Pulcinella Ballet by Stravinsky; Moderato from Sonata No. 1 in G Major by Gallo; Assez vif from String Quartet in F Major by Ravel; Sehr langsam from 4 Pieces, Op. 7 by Webern; Simple Gifts melody by Brackett; Braul from Romanian Folk Dances by Bartok; The Basso-Gypsy Traditional; Odessa Bulgarish-Klezmer Traditional; Varys Hasapikos-Greek Traditional; El Jar.
$5.99 ≈
5.53€
America The Beautiful
America The Beautiful
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Piano solo
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INTERMEDIATE/ADVANCED
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Barbra Streisand
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Timothy Stapay
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America The Beautiful
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1254594 By Barbra Streisand. By Katherine Lee Bates, Samuel A. Ward. Arranged by Timothy Stapay. Film/TV,...
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Piano Solo - Level 4 - Digital Download SKU: A0.1254594 By Barbra Streisand. By Katherine Lee Bates, Samuel A. Ward. Arranged by Timothy Stapay. Film/TV,Historic,Holiday,Patriotic,Singer/Songwriter. Score. 4 pages. Timothy Stapay #848195. Published by Timothy Stapay (A0.1254594). This is an arrangement of America The Beautiful, written for upper intermediate level piano. It contains an introduction using Battle Hymn Of The Republic.America the Beautiful is a patriotic American song. Its lyrics were written by Katharine Lee Bates and its music was composed by church organist and choirmaster Samuel A. Ward at Grace Episcopal Church in Newark, New Jersey. The two never met.In 1893, at the age of 33, Bates, an English professor at Wellesley College, had taken a train trip to Colorado Springs, Colorado, to teach at Colorado College. Several of the sights on her trip inspired her, and they found their way into her poem.Lyrics:O beautiful for spacious skiesFor amber waves of grainFor purple mountain majestiesAbove the fruited plain!America! America!God shed his grace on theeAnd crown thy good with brotherhoodFrom sea to shining sea!O beautiful for pilgrim feetWhose stern impassioned stressA thoroughfare of freedom beatAcross the wilderness!America! America!God mend thine every flawConfirm thy soul in self-controlThy liberty in law!O beautiful for heroes provedIn liberating strifeWho more than self their country lovedAnd mercy more than life!America! America!May God thy gold refineTill all success be noblenessAnd every gain divine! O beautiful for patriot dreamThat sees beyond the yearsThine alabaster cities gleamUndimmed by human tears!America! America!God shed his grace on theeAnd crown thy good with brotherhoodFrom sea to shining sea!O beautiful for halcyon skiesFor amber waves of grainFor purple mountain majestiesAbove the enameled plain!America! America!God shed his grace on theeTill souls wax fair as earth and airAnd music-hearted sea!O beautiful for pilgrims feetWhose stem impassioned stressA thoroughfare for freedom beatAcross the wilderness!America! America!God shed his grace on theeTill paths be wrought throughWilds of thoughtBy pilgrim foot and knee! O beautiful for glory-taleOf liberating strifeWhen once and twiceFor man's availMen lavished precious life!America! America!God shed his grace on theeTill selfish gain no longer stainThe banner of the free!O beautiful for patriot dreamThat sees beyond the yearsThine alabaster cities gleamUndimmed by human tears!America! America!God shed his grace on theeTill nobler men keep once againThy whiter jubilee!
$5.99 ≈
5.53€
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 ≈
27.69€
The Luther Rose
The Luther Rose
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Choral Unison
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BEGINNER
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Sacred music
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Jayne Nitz
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The Luther Rose
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Jayne Nitz
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SheetMusicPlus
Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.922837 Composed by Jayne Nitz. Children,Christian,Praise & Worship,Sacred. Octavo. 5 pages. Ja...
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Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.922837 Composed by Jayne Nitz. Children,Christian,Praise & Worship,Sacred. Octavo. 5 pages. Jayne Nitz #6342457. Published by Jayne Nitz (A0.922837). This song for kids describes the Luther Rose (also called the Luther Seal) image of cross, heart, rose, sky, and gold ring which explains the Christian faith. Great for children to sing on Reformation Sunday. Includes reproducible lead and lyric sheets.
$1.99 ≈
1.84€
Return to the Distilled Gold for two guitars
Return to the Distilled Gold for two guitars
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2 Guitars (duet)
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Contemporary
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Haydn Reeder
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Return to the Distilled Gold f
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Haydn Reeder
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet - Digital Download SKU: A0.953831 Composed by Haydn Reeder. 20th Century,Concert,Contemporary. Score and parts...
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Instrumental Duet Guitar,Instrumental Duet - Digital Download SKU: A0.953831 Composed by Haydn Reeder. 20th Century,Concert,Contemporary. Score and parts. 7 pages. Haydn Reeder #3448243. Published by Haydn Reeder (A0.953831). Suitable as an exciting inclusion in a concert setting, this guitar duo lasts about 5 minutes. At times there are a few extended techniques required, all confined to playing on the strings, such as raised pitches, glissandi, harmonics and pizzicato.To explain the title: there are several distinct gestures or textures which circulate through the piece. However, only one is heard in its original form on its return. It features an intermittently repeated low chord on one guitar while the other traces a slow high two-part shape. After being introduced, it is contemplated for quite a long time and during this initial phase is returned to several times. Here, the composer is like an alchemist who is reflecting on the results of a successful experiment. At its later return this central idea is only briefly referred to. The final section could be described as a thumping toccata.
$4.99 ≈
4.61€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.46€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.46€
Cape Breton & Prince Edward Island Fiddle Tunes for Clawhammer Banjo 136 Note-for-Note Authentic Banjo Arrangements in Clear Tablature
Cape Breton & Prince Edward Island Fiddle Tunes for Clawhammer Banjo 136 Note-for-Note Authentic Banjo Arrangements in Clear Tablature
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Banjo
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Intermediate
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Cape Breton & Prince Edward Is
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Banjo - Beginning; Intermediate; Advanced - Digital Download SKU: M0.31054MEB Folk. Old Time. Ebook and online audio. 185 pages. Mel Bay Publications - D...
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Banjo - Beginning; Intermediate; Advanced - Digital Download SKU: M0.31054MEB Folk. Old Time. Ebook and online audio. 185 pages. Mel Bay Publications - Digital Sheet Music #31054MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31054MEB). ISBN 9781513477107. 8.75X11.75 inches.The island of Cape Breton & its close neighbor, Prince Edward Island in eastern Canada are home to two of the oldest, strongest, and most vibrant fiddling traditions in North America. Cape Breton gave rise to a professional Celtic-based fiddling scene to rival anything coming out of Scotland & Ireland. Prince Edward Island’s traditional fiddlers developed lively, idiosyncratic styles every bit as musically compelling as anything you’ll hear on archival recordings of iconic American old-time fiddlers from the Appalachians. This book features 136 tunes from these two distinct but related fiddling traditions, collected by the author directly from master fiddlers, and arranged note-for-note for clawhammer banjo with as much flavor and nuance as possible. These settings of reels, hornpipes, jigs, marches, strathspeys, airs, and other fiddle tunes are all eminently playable and fully benefit from the author’s half-century of experience playing banjo, arranging for banjo, writing banjo instruction books, and researching fiddle-music traditions. Here’s what you’ll find in this volume. 136 fiddle tunes arranged for clawhammer banjo in clear tablatureOver 40 musical examples & exercisesInstruction on basic and advanced techniquesFingering diagrams & detailed fingering suggestionsA systematic approach to playing up-the-neckA thorough treatment of playing triplets, grace notes, and other characteristic ornaments in clawhammerGuides on how to approach playing various kinds of fiddle tunesA framework for understanding the modes encountered in fiddle musicHistorical notes on the tunes and musical traditionsBiographical information on source fiddlers169 audio illustrations available online Note: Most audio illustrations for the tunes in this book are drawn directly from the author’s CDs, Devil in the Kitchen, Frails & Frolics, Island Boy, and Northern Banjo.
Song List
:
Andy Renwick's Ferret
Angus Campbell
Archie Menzies
The Banks Hornpipe
Bear River Jig
Bee's Wing Hornpipe, The
Belfast hornpipe, The
Belfast Jig
Big John McNeil
Bonaparte Crossing The Alps
Bonniest Lass in a' the World, The
Bonny Lass of Fisherrow, The
Bonny Lea Rig, The
Brae Reel, The
Braes of Auchtertyre, The
Brenda Stubbert's Reel
Caber Feidh
Cape Breton Wedding Reel, The
Captain Campbell
Carleton County Breakdown
Carnie's Canter
Chaisson Reel, The
Cheticamp Reel, The
Chorus Jig
Come Under My Plaidie
Compliments To Buddy Macmaster
Cutting Ferns
Darlin' Don't You Meddle Me
Delphine's Reel
Democratic Rage, The
Devil In The Kitchen
Dillon Brown
Dinkie's Reel
Don't Be Teasing
Dr Keith, Aberdeen
Dragger's Reel, The
Drunken piper, The
Dublin Porter
Duke of Gordon's Birthday, The
Durang's Hornpipe
East Neuk of Bear River, The
Emil Gaudet's Reel
Farmer's Daughter, The
Farmer's Reel, The
Fay's Hornpipe
Fermoy Lasses
Fig For A Kiss
Fisher's Hornpipe (F Setting)
Fred Wilson's Hornpipe
Glencoe March
Green Meadow Reel
Haggis, The
Hector's Fancy
Hector's New Dance Hall
High Level Hornpipe, The
Homeward Bound
Honeymoon, The
Inverness Jig
Irishman's Heart To The Ladies
Iron Man, The
Island Boy
Jack Webster's Reel
Jackson's Jig
Jenny Dang The Weaver
JEROME'S FAREWELL TO GIBRALTAR
Jerry Holland's Jig
Joe Kearney's Reel
Joe MacInnis' March
Kenmure's On & Awa', Willie
Killiecrankie
Koehler's Hornpipe
Lad O'beirne's Reel
Lasses of Glenaladale, The
Levantine's Barrel
Light & Airy
Little Donald In The Pigpen
Little Jack's Reel
Londonderry Hornpipe
Lord Gordon
Lord MacDonald's Reel
Macdonald's March Reel
Mackinnon's Rant
Marchioness of Tullibardine, The
Marie ? Pierre
Marquis of Huntly, The
Meeting of Waters, The
Miller o' Drone, The
Miller's Reel
Miramichi Fire, The
Miss Barker's Hornpipe
Miss Georgina Campbell
Miss Gordon
Miss Lyall Strathspey
Miss Maxwell
Mr. Murray
Munlochy Bridge
Munster Lass, The
North Side of the Grampians, The
Northside Tune
Orange & Blue, The
Ottawa Valley Reel
Paddy On The Turnpike
Pigeon On The Gatepost
Plains of Boyle, The
Poppy Leaf, ThePride of the Ball
Prince Edward Island Wedding Reel
Princess Reel
River Bend Jig
Robert Cormack, Aberdeen
Robert Stubbert
Rock Valley Jig
Rose in the Garden, The
Rose of Tennessee, The
Rothiemurchus Rant, The
Royal Circus Jig
Shandon Bells
Shores of Lough Gowna, The
Silver & Gold
Sleepy Maggie
Souris Breakwater
Southern Melody
St Anne's Reel -Original Version
St Anne's Reel -Prince County Version
St Kilda Wedding
Stack Of Barley
Stella's Trip To Kamloops
Stool of Repentance, The
Teviot Bridge
Trip To Windsor
West Point Jig
When I Go Out the Door
Where the North River Flows
Whiskey Jig
Wilfred's Fiddle
You Married My Daughter, & Yet
$24.99 ≈
23.06€
The William Bay Collection - Flatpicking Guitar Solo Anthology #2
The William Bay Collection - Flatpicking Guitar Solo Anthology #2
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Guitar notes and tablatures
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INTERMEDIATE
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Fingerstyle/Fingerpicking
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The William Bay Collection - F
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: M0.WBM77MEB Folk. Ebook and online audio. 297 pages. Mel Bay Publications - Digital Sheet Music #WBM77MEB. ...
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Guitar - Intermediate - Digital Download SKU: M0.WBM77MEB Folk. Ebook and online audio. 297 pages. Mel Bay Publications - Digital Sheet Music #WBM77MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM77MEB). ISBN 9781513477916. 8.75X11.75 inches.A comprehensive collection of 146 guitar solos in notation and tablature. The solos include beautiful airs and ballads from America and the British Isles, Celtic favorites, and early music pieces. Also included are many original guitar solos written by the author. Each solo is recorded, and the book includes access to online recordings.
Song List
: Adoro Devote (th Century Plainsong) Allegro (Anon) Alman (Robert Johnson) An dro An Drochshaol (The Hard Times) An Italian Rant (John Playford) Andante (Anon) Aura Lee Ballade (Anon) Bear Dance (Anon) Beautiful Dreamer Believe Me If All Those Endearing Charms Black is the Color of My True Love's Hair Black Sunday Blessed Reunion Branle Double (Michael Praetorius) Cailin Deas Crúite na mBó (Pretty Girl Milking Her Cow) Call The Ewes Canarios (Gaspar Sanz) Carolan's Dream Carolan's Fancy Chanter's Tune Chestnut (John Playford) Childgrove (John Playford) Clancy's Wake Come With Me, My Giselle (Adam De La Halle) Coming Home Cooley's Reel Courting is a Pleasure Darling Nellie Gray Dont vient cela (Susato/Danserye ) Dowland's Ghost (W Bay) Down by the Sally Gardens Drowsie Maggie Endless Horizon Fair Flower Of Northumberland Fields Of Culloden Flint Hills Fortune My Foe (Anon) Gavotte (Michael Praetorius) Golden Fields Greensleeves (Anon) Greyfriars Bobby Grimstock (John Playford) Guardeme Las Vacas (Luis De Narvaez) Guilderoy Hard Times, Come Again No More Harvest Festival Hills Of Ireland I Dream of Jeanie With the Light Brown Hair I Went To Visit The Roses In The Pines Irish Prayer Jock O'Hazeldean John Anderson, My Jo Johnny Has Gone For a Soldier Just A-Wearyin' For You Just Before The Battle, Mother Kean O'Hara (First Air) Kemp's Jig (John Playford) La Folias (Gaspar Sanz) Lady Laiton's Almain (John Dowland) Land of Rest Londonderry Air Lorena Macdonald, Lord Of The Isles MacPherson's Farewell Mara's Theme Master Shardlake (W Bay) Meadowlark Meramec Echoes Mighty Lak' A Rose Moderato (Anon) My Irish Home My Lagan Love My Spirited Love Mystic Valley Ned Of The Hill New Day O Esca Viatorum (Louis Bourgeois) On The Cold Ground (John Playford) Once I Had A Sweetheart Ozark Memories Packington's Pound (Anon) Paper Of Pins Parson's Farewell (John Playford) Pastourelle (th Century French) Pigeon On The Fence Prairie Sunrise Prairie Sunset Pretty Peggy - O Quiet Summer Night Rainfall Remembrance Rose Of Sharon Saltarello (Vincenzo Galilei) Saturday Night Waltz Scarborough Fair Shady Grove She Moved Through The Fair Sheebeg and Sheemor Shenandoah Si pour t'aymer (Anon) Southwind Waltz Spagnoletta (Michael Praetorius) St Martin's (John Playford) Star of the County Down State Fair Storm Coming Summer Plans Sunflower Waltz The Bonny Light Horseman The Boys Of Ballisodare The Brave Lad The Church on the Prairie The Connachtman's Rambles The Flowers Of Sweet Erin The Green The Fragrance of Fall The Galway Shawl The Highlander The Highwayman's Reel The Lark In Clear Air The Lilting Banshee The Lonesome Dove The Long Road The Lost Child The Marsh of Rhuddlan The Mist Covered Mountain (Jig) The Mist Covered Mountains Of Home (Ballad) The Old Country The Old Homestead The Parting Glass The Rambling Pitchfork The Shearing's Not For You The Water Is Wide The Yearling TO a Wild Rose To Drive The Cold Winter Away (John Playford) Trail Of Tears Treasure Of My Heart Tutte Venite Armati (Anon) Village Meeting House Volte (W Bay) Wild Mountain Thyme Wilson's Wilde (Anon) Winfield Waltz
$29.99 ≈
27.68€
We Three Kings of Orient Are
We Three Kings of Orient Are
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Easy Piano
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BEGINNER
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Christmas
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John Henry Hopkins Jr
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Mario Stallbaumer
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We Three Kings of Orient Are
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Mario Stallbaumer
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SheetMusicPlus
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.510500 Composed by John Henry Hopkins Jr. Arranged by Mario Stallbaumer. Christian,Christmas. Scor...
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Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.510500 Composed by John Henry Hopkins Jr. Arranged by Mario Stallbaumer. Christian,Christmas. Score. 1 pages. Mario Stallbaumer #3908091. Published by Mario Stallbaumer (A0.510500). Merry Christmas!Here’s how to play the famous Christmas carol “We Three Kings†(also known as We Three Kings of Orient Are or The Quest of the Magi) on piano. With these easy, beautiful, accurate piano sheets, you can play “We Three Kings†on piano - you can use this version to play the song by yourself on piano, accompany singers, or sing along yourself!“We Three Kings of Orient Are†is a traditional Christmas carol. Words and music were written by the American clergyman John Henry Hopkins Jr. for a Christmas pageant in 1857. Note that I have two versions available in this library: A very easy one, and one which is a bit more challenging. Enjoy!Here are the full lyrics to the Christmas carol: “We three kings of Orient are;Bearing gifts we traverse afar,Field and fountain, moor and mountain,Following yonder starRefrain:O star of wonder, star of night,Star with royal beauty bright,Westward leading, still proceeding,Guide us to thy perfect light.Born a King on Bethlehem’s plainGold I bring to crown Him again,King forever, ceasing never,Over us all to reign.RefrainFrankincense to offer have I;Incense owns a Deity nigh;Prayer and praising, all men raising,Worship Him God Most High.RefrainMyrrh is mine, its bitter perfumeBreathes a life of gathering gloom;Sorrowing, sighing, bleeding, dying,Sealed in the stone cold tomb.RefrainGlorious now behold Him arise;King and God and sacrifice;Alleluia!, Alleluia!,Peals through the Earth and skies.Refrainâ€
$2.99 ≈
2.76€
Orgelsinfonie No. 16
Orgelsinfonie No. 16
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Organ
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ADVANCED
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration ...
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Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99 ≈
20.30€
Too Much For Our Thirst (Trombone and Piano)
Too Much For Our Thirst (Trombone and Piano)
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Contemporary
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Alexander Burdiss
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Too Much For Our Thirst
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Ars Nova Press
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SheetMusicPlus
Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #...
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Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99 ≈
9.22€
The Plain Gold Ring
The Plain Gold Ring
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Piano, Voice
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Carl Maria von Weber
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The Plain Gold Ring
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Composed by Carl Maria von Weber (1786-1826). Courtship & love. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV...
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Composed by Carl Maria von Weber (1786-1826). Courtship & love. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.17907). - - - Johns Hopkins University Sheridan Libraries
$5.99 ≈
5.53€
The Plain Gold Ring
The Plain Gold Ring
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Piano, Voice
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Carl Maria von Weber
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The Plain Gold Ring
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Composed by Carl Maria von Weber (1786-1826). Courtship & love, Campaigns & battles, Heroes, Gifts. Lester S. Levy Collection. 4 pages. Published by Johns Hopki...
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Composed by Carl Maria von Weber (1786-1826). Courtship & love, Campaigns & battles, Heroes, Gifts. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.17966). - - - Johns Hopkins University Sheridan Libraries
$5.99 ≈
5.53€
Australia Our Land - Orchestra with SATB Choir and Piano
Australia Our Land - Orchestra with SATB Choir and Piano
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Orchestra
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INTERMEDIATE
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Brendan James Elliget NotePerf
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Brendan James Elliget MAGA 537
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Australia Our Land - Orchestra
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BJE Music
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1033685 By Brendan James Elliget NotePerformer 3. By Brendan James Elliget MAGA 537. Arranged by Bren...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1033685 By Brendan James Elliget NotePerformer 3. By Brendan James Elliget MAGA 537. Arranged by Brendan James Elliget MAGA 537. Classical,Contemporary,Patriotic. Score and parts. 41 pages. BJE Music #638998. Published by BJE Music (A0.1033685). The words for this song were written as a poem by my late mother-in-law Olivia Morgan (94) about the love of her adopted country Australia. She originally came from her ancestral home in England when she was 14. She spent her early years in Australia on a cattle station. Many years later she wrote a poem. Olivia asked me to set her poem to music, which I did in 1990 in the style of an anthem. It has since been performed by the local symphony orchestra and full choir. This setting is for SATB Choir and Orchestra with or without piano accompaniment. The MP3 was recorded with NotePerformer… Grade = 3 Duration = 2:35 mins Full lyrics: Australia Our Land Australia great and fair Contained in azure sea Her beauty lies 'neath southern skies Enchanted wide and free From oceans pounded shore Through outback's silent space O'er desert sands and city strands She shows her varied face. Where high the eagle flies And mighty rivers run There rolling plains of golden grain Reflect the west'ring sun In bushland's shaded scene By mountain's dreaming haze There bird-land calls cascading falls Combine their songs of praise. Our country's bounteous gifts Extend from shore to shore In history's place, Her pride and grace Will live forever more This land that keeps our heart Afar though we may roam On land or sea Yet still to be Australia our dear home. (Repeat last two lines) Sung by Christine Neaves (Daughter of Brendan and Glenys Elliget) Words by Olivia Morgan (Mother of Glenys Elliget) Music by Brendan Elliget Copyright © 1996 BJE Music You can listen to the Vocal version at: https://www.bjemusic.com/store/p149/Australia%2C_Our_Land_-_SATB_Choir_or_Solo_Voice_with_Piano_PDF.html.
$28.00 ≈
25.84€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.46€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.46€
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The Plain Gold Ring
