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1
Handel: Largo from Xerxes for Violin & Piano
Handel: Largo from Xerxes for Violin & Piano
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Violin and Piano
#
INTERMEDIATE
#
Classical
#
George Frideric Handel
#
Handel: Largo from Xerxes for
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jmsgu3
#
SheetMusicPlus
Violin & Piano - Intermediate - Digital Download Composed by George Frideric Handel (1685-1759). Arranged by James M. Guthrie, ASCAP. Baroque Perio...
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Violin & Piano - Intermediate - Digital Download Composed by George Frideric Handel (1685-1759). Arranged by James M. Guthrie, ASCAP. Baroque Period, General Worship, Repertoire, Wedding, Recital. Score, Set of Parts. 9 pages. Published by jmsgu3
Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from "Xerxes"
Suitable for any venue requiring meditative music. Excellent choice for a recital encore.
Xerxes
Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel’s “Largo,” Handel has, on the contrary, clearly marked "Larghetto" in the score.
Handel Background
George Frideric Handel (1685 - 1759) was born in Germany, but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany.
Career in England
It is important to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel nevertheless began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London.
Legacy
Music historians agree that Handel was in general one of the greatest composers of the Baroque era. To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, the Sinfonia from act 3 was featured the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas. Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performance. Since his death in 1779, interest in Handel's music has, all in all, expanded.
Register for free lifetime updates and revisions of this product at www.jamesguthrie.com.
$32.95 ≈
$44.53
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.1
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.1
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Violin, Viola (duet)
#
ADVANCED
#
Classical
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Johann Sebastian Bach
#
Kamada, Mikio
#
Toccata and Fuge in d-Moll BWV
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ACORDO Sheet Music
#
SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pag...
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985434. Published by ACORDO Sheet Music (A0.1402227). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60 ≈
$17.03
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.2
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.2
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Violin, Viola (duet)
#
ADVANCED
#
Classical
#
Johann Sebastian Bach
#
Kamada, Mikio
#
Toccata and Fuge in d-Moll BWV
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ACORDO Sheet Music
#
SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pag...
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985435. Published by ACORDO Sheet Music (A0.1402228). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60 ≈
$17.03
Toccata, Adagio and Fugue in C, BWV 564 for Violin & Viola
Toccata, Adagio and Fugue in C, BWV 564 for Violin & Viola
#
Johann Sebastian Bach
#
Kamada, Mikio
#
Toccata, Adagio and Fugue in C
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ACORDO Sheet Music
#
SheetMusicPlus
Instrumental Duet - Level 5 - Digital Download SKU: A0.1475965 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 23 pages. ACORDO Sh...
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Instrumental Duet - Level 5 - Digital Download SKU: A0.1475965 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 23 pages. ACORDO Sheet Music #1053543. Published by ACORDO Sheet Music (A0.1475965). Toccata, Adagio and Fugue in C, BWV 564 is one of Johann Sebastian Bach's most famous organ works.Toccata: This part starts with an introduction that sounds like improvisation. It has fast, single-note passages like a concerto's cadenza. At measure 32, it changes to a bright, full sound like an orchestra.Adagio: This part is slow and very beautiful, with a sad feeling in a minor key.Fugue: In 6/8 time, this part is lively and bright, like a dance such as a Gigue or Passepied, even though it is not labeled as a dance.In my previous publication, Toccata & Fugue, BWV 565 for Violin and Viola, I showcased the unique beauty of string instruments. Similarly, in this piece, the beautiful melody of the Adagio fits perfectly with the Violin and Viola, as if it were originally composed for them. The dance-like energy of the Fugue is also easier to express with string instruments.When two people perform this piece, it creates an interesting dialogue, almost like a conversation. The introduction of the Toccata reflects this, inspired by my students who would chat enthusiastically before starting their practice. Their conversation in the music lasts for 31 measures without any chords together. The short unison phrase in measure 13 symbolizes their agreement to start playing together. After that, their conversation continues, with triplets and important motifs of this movement appearing, increasing the expectation for the ensemble to begin. From measure 32, the real ensemble playing begins. Although we don't know what Bach imagined when he wrote this introduction, I now hear it as a conversation, even when listening to the original organ version.In the Adagio viola part, the continuo notes are marked in black, and the notes that create harmony are marked in blue. Players who can control the volume balance of double stops should balance it so that the continuo flows naturally. Players who are not skilled in playing double stops, it might be better to omit the blue notes in difficult sections. If omitted, the section might feel empty, but with careful playing before and after, it could still sound natural.
$14.20 ≈
$19.19
We Don't Talk About Bruno
We Don't Talk About Bruno
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Carolina Gaitan, Mauro Castill
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Jeremy Crosmer
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We Don't Talk About Bruno
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Jeremy Crosmer
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.1100721 By Carolina Gaitan, Mauro Castillo, Adassa, Rhenz...
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Bassoon,Cello,Clarinet,Double Bass,Flute,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.1100721 By Carolina Gaitan, Mauro Castillo, Adassa, Rhenzy. By Lin-Manuel Miranda. Arranged by Jeremy Crosmer. Broadway,Classical,Hip-Hop,Latin,Musical/Show,Pop,R & B. 38 pages. Jeremy Crosmer #704391. Published by Jeremy Crosmer (A0.1100721). This arrangement is for Classical Duo/Trio with flexible instrumentation, designed to be played as part of outreach initiatives by Classical music organizations.The score for the default ensemble of Violin/Viola/Cello is included, as well as 14 parts: Part 1: Violin / Viola / Flute / Oboe / Clarinet Part 2 (optional): Violin / Viola / Clarinet Part 3: Violin / Viola / Cello / Double Bass / Bassoon / Clarinet Jeremy Crosmer is a cellist in the Detroit Symphony orchestra, as well as a composer and arranger. For more arrangements, visit jeremycrosmer.com To learn more about the Detroit Symphony Orchestra's community engagement work, visit dso.org/community
$12.99 ≈
$17.55
We Remember Calvary (SAB)
We Remember Calvary (SAB)
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Joel Raney
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We Remember Calvary
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Hope Publishing - Digital
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SheetMusicPlus
(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8641DP Composed by Joel Raney. Musicals for Adults. Lent & Easter Musicals. Con...
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(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8641DP Composed by Joel Raney. Musicals for Adults. Lent & Easter Musicals. Contemporary, Lent, Holy Week, Good Friday. Choral score. 72 pages. Hope Publishing - Digital #8641DP. Published by Hope Publishing - Digital (H1.8641DP). Lent & Easter Musical This poignant 35-minute Tenebrae Service is designed to recreate the emotional and spiritual aspects of the Passion Story through music. Both traditional and contemporary hymns and songs are combined with congregational singing, scripture reading, and narration to paint a vivid and moving picture of Christ's last days and his journey to the cross. Included are instructions for lighting and extinguishing candles throughout the service, creating a dramatic Good Friday effect so that, by the end, the congregation is in total darkness. Performance may be done simply with choir, piano and narration, or may be enhanced with the instrumental parts, which include a Conductor's Score and parts for 2 violins, cello, flute, clarinet and string reduction for organ or synthesizer. Order a Preview Pack today.
$12.95 ≈
$17.50
We Remember Calvary
We Remember Calvary
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Joel Raney
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We Remember Calvary
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Hope Publishing - Digital
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SheetMusicPlus
(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8494DP Composed by Joel Raney. Musicals Collection. Lent & Easter Musicals. Con...
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(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8494DP Composed by Joel Raney. Musicals Collection. Lent & Easter Musicals. Contemporary, Lent, Holy Week, Good Friday. Instrumental Parts. 320 pages. Hope Publishing - Digital #8494DP. Published by Hope Publishing - Digital (H1.8494DP). Lent & Easter Musical This poignant 35-minute Tenebrae Service is designed to recreate the emotional and spiritual aspects of the Passion Story through music. Both traditional and contemporary hymns and songs are combined with congregational singing, scripture reading, and narration to paint a vivid and moving picture of Christ's last days and his journey to the cross. Included are instructions for lighting and extinguishing candles throughout the service, creating a dramatic Good Friday effect so that, by the end, the congregation is in total darkness. Performance may be done simply with choir, piano and narration, or may be enhanced with the instrumental parts, which include a Conductor's Score and parts for 2 violins, cello, flute, clarinet and string reduction for organ or synthesizer. Order a Preview Pack today.
$175.00 ≈
$236.49
We Remember Calvary
We Remember Calvary
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Joel Raney
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We Remember Calvary
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Hope Publishing - Digital
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SheetMusicPlus
(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8496DP Composed by Joel Raney. Contemporary, Lent, Holy Week, Good Friday. Prev...
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(Clarinet, Congregation, Flute, Organ, Violin) - Digital Download SKU: H1.8496DP Composed by Joel Raney. Contemporary, Lent, Holy Week, Good Friday. Preview Pack - Score & Listening CD. 73 pages. Hope Publishing - Digital #8496DP. Published by Hope Publishing - Digital (H1.8496DP). Lent & Easter Musical This poignant 35-minute Tenebrae Service is designed to recreate the emotional and spiritual aspects of the Passion Story through music. Both traditional and contemporary hymns and songs are combined with congregational singing, scripture reading, and narration to paint a vivid and moving picture of Christ's last days and his journey to the cross. Included are instructions for lighting and extinguishing candles throughout the service, creating a dramatic Good Friday effect so that, by the end, the congregation is in total darkness. Performance may be done simply with choir, piano and narration, or may be enhanced with the instrumental parts, which include a Conductor's Score and parts for 2 violins, cello, flute, clarinet and string reduction for organ or synthesizer. Order a Preview Pack today.
$17.95 ≈
$24.26
Anything You Can Do . . . for violin and vibraphone
Anything You Can Do . . . for violin and vibraphone
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Robert M
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Anything You Can Do . . . for
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contempor...
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00 ≈
$37.84
Jesus Shall Reign Where'er the Sun
Jesus Shall Reign Where'er the Sun
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Piano solo
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ADVANCED
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. ...
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99 ≈
$6.74
VAMPIRE'S DANCE
VAMPIRE'S DANCE
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Violin and Piano
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Contemporary
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Monica Bergo
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VAMPIRE'S DANCE
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Moni Bergo
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SheetMusicPlus
Small Ensemble Cello,Drums,Organ,Pan Pipe,Piano,Violin - Digital Download SKU: A0.1012747 Composed by Monica Bergo. Contemporary. Score and parts. 40 pag...
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Small Ensemble Cello,Drums,Organ,Pan Pipe,Piano,Violin - Digital Download SKU: A0.1012747 Composed by Monica Bergo. Contemporary. Score and parts. 40 pages. Moni Bergo #5743663. Published by Moni Bergo (A0.1012747). Music and song composed by meVampire's dance I live between two worlds Between trash and slums This is a dream or reality ? The lie or the truth? While I wait for sunsets I look at the sun and horizons And breathe freedom and my immortality Desire for the infinite, Who has not ever tried ? That need to know that the stronger we are Invincible and powerful without the burden of age Over the centuries and the millennia Always gorgeous 20 years old And then dance To the rhythm of the Vampire Do you feel my breath Let us give this eternal night And then dance The senses amplified sharp teeth let's see who can stop us around the fire like wolves, red eyes, a bit 'fierce, we move in packs, invisible and fast , we are thieves thoughts ,so forgotten who you were or roots or ties ,no land limits And then dance To the rhythm of the Vampire Do you feel my breath Let us give this eternal night And then dance The senses amplified sharp teeth let's see who can stop us The mania destroys Hunger afflicts us But it will not be the food that will satisfy Torments and regrets, sad feelings, Nightime falling erase them We are shadows at night ,The heart that no beats We languid slaves the Voodoo rituals The pale faces, The ambiguous smiles Put the cross, you will not need Strange characters So wild and free ,But in this society ,Nothing scarier ago I donate my blood every day to The state or the government the Vampires are we ,There are monsters and vultures Those imprisoned vampires, In the faded pages Elegant, charming, So beautiful and in high places and in they I recognize that mania that is also mine My hunger to know ,With food can not be satisfied And then dance ,And crossing that border Now there is an end to what I can imagine And then dance, I sad renegade I lost soul, Who do not know who to give my heart And then dance ,If you are not anyone ,If you lost in the journey You can not find a post to be filled Look in the mirror You can see my reflection? This is a dream or reality? The lie or the truth? Monica Bergo
$5.00 ≈
$6.76
The short mesure off my Lady Wynkfylds rownde
The short mesure off my Lady Wynkfylds rownde
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Violin
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Anonymous
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Gordon Jackson
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The short mesure off my Lady W
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Gordon Jackson
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SheetMusicPlus
Large Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Organ,Violin - Digital Download SKU: A0.1017677 Composed by Anonymous. Arranged by Gordon Jackson. Cl...
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Large Ensemble Bouzouki,Guitar,Harpsichord,Mandolin,Organ,Violin - Digital Download SKU: A0.1017677 Composed by Anonymous. Arranged by Gordon Jackson. Classical,Folk,Multicultural,Renaissance,World. Score and parts. 1 pages. Gordon Jackson #6435545. Published by Gordon Jackson (A0.1017677). The short mesure off my Lady Wynkfylds rowndeIn English Keyboard Music Before the Nineteenth Century John Caldwell writes: ‘There can be little doubt that this music was intended for performance at the court of Henry VIII.’ Caldwell goes on to say that this tune may have been composed by Hugh Aston (born c1485 – buried 17 November 1558, so presumably – we would hope – he died a short time before that).It's a pretty tune to which I’ve composed a counterpoint. I’ve also added chord names for those who want them.
$4.99 ≈
$6.74
String Quartet No. 3: Among Friends
String Quartet No. 3: Among Friends
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Robert M
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String Quartet No. 3: Among Fr
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Robert M. Greenberg
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robe...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.
$36.00 ≈
$48.65
Gioseffo Guami - Canzonetta Ondeggiante
Gioseffo Guami - Canzonetta Ondeggiante
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String Orchestra
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Gioseffo Guami
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Gianmaria Griglio
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Gioseffo Guami - Canzonetta On
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Gianmaria Griglio
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.927852 Composed by Gioseffo Guami. Arranged by Gianmaria Griglio. Baroque,Renaissance. Score and parts. 21 pa...
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String Orchestra - Digital Download SKU: A0.927852 Composed by Gioseffo Guami. Arranged by Gianmaria Griglio. Baroque,Renaissance. Score and parts. 21 pages. Gianmaria Griglio #6235263. Published by Gianmaria Griglio (A0.927852). Gioseffo Guami (1542–1611) was an Italian composer, organist, violinist and singer of the late Renaissance Venetian School. He was a prolific composer of madrigals and instrumental music, and was renowned as one of the finest organists in Italy in the late 16th century; he was also the principal teacher of Adriano Banchieri.Not much of his music has survived but the little we have shows the level of refinement this composer from Lucca had reached. I've arranged here one of his canzonette (little songs) for string orchestra. Enjoy and don't forget to leave a comment :)
$9.99 ≈
$13.50
King Of The Clouds
King Of The Clouds
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Pop music
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Future Of The Purple
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David Whitaker
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King Of The Clouds
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David Whitaker
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SheetMusicPlus
Alto Saxophone,Cello,Double Bass,Drums,Electric Bass Guitar,Electric Guitar,Horn,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet,Viola,Violin,Voice - Level 3...
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Alto Saxophone,Cello,Double Bass,Drums,Electric Bass Guitar,Electric Guitar,Horn,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet,Viola,Violin,Voice - Level 3 - Digital Download SKU: A0.1454789 By Future Of The Purple. By Alexander Kresovich, Brendon Urie, Jacob Sinclair, Samuel Hollander, and Suzanne Shinn. Arranged by David Whitaker. Pop. 16 pages. David Whitaker #1033859. Published by David Whitaker (A0.1454789). King of the Clouds by Panic! At the Disco ft. Future of hte Purple. Parts included: Lead (Tenor), Lead (Baritone), Alto Sax, Tenor Sax, Horn in F, Trumpet in Bb, Trombone, Violin (2), Viola, Cello, String Bass, Electric Guitar (2), Bass Guitar, Piano (Organ), Hand Clap, and Drumset.This score is now available for purchase on SheetMusicPlus.com and/or SheetMusicDirect.com. Just search up “David Whitaker (Song Name)” and it will pop up. To view other arrangements, head over to our Youtube Channel “David Whitaker ICMFY”. There you can browse through all the music we currently have to offer. Thank you for your support and stay tuned for more coming soon!
$30.00 ≈
$40.54
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
$13.51
Psalm 19 (Downloadable Choral Score)
Psalm 19 (Downloadable Choral Score)
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Choral SATB
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EASY
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Sacred music
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James Chepponis
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Psalm 19
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Assembly, cantor, SATB choir, and organ, with optional flute, oboe, brass quintet, suspended cymbal, timpani, and strings (Brass/Percussion Parts include: Trump...
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Assembly, cantor, SATB choir, and organ, with optional flute, oboe, brass quintet, suspended cymbal, timpani, and strings (Brass/Percussion Parts include: Trumpets I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombone, Tuba, Suspended Cymbal, Timpani. String Parts include: Violin I and II, Viola, Cello) - Moderately Easy - Digital Download SKU: MQ.80-605-E Composed by James Chepponis. Easter Vigil, Lent, Pentecost, Building Dedication. Octavo. 7 pages. MorningStar Music Publishers - Digital Sheet Music #80-605-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.80-605-E). English, Spanish. Psalm 19:8-15.Fr. Jim Chepponis was commissioned to write a festive setting of Psalm 19 for the dedication of Christ Cathedral in Orange County, CA, in 2019. The result is what we've come to expect from this veteran composer. The optional instrumentation for flute, oboe, brass quintet, percussion, organ, and strings is perfect for a festive liturgy but can also be pared down for other occasions. The alternate refrains and different sets of verses make it work at multiple liturgies at which Psalm 19 is appointed. Both assembly and choral writing is very singable. The icing on the cake is that it can be done in English, Spanish, or a combination of the two.
$2.25 ≈
$3.04
Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31
Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31
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String Orchestra
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Classical
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Ludwig van Beethoven, Cees Nie
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Upstream Music
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Prelude and Fugue in C major f
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Upstream Music
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and...
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String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 24 pages. Upstream Music #6353319. Published by Upstream Music (A0.933524). The Prelude and Fugue in C major were created during the period of study with Johann Georg Albrechtsberger, who lived from February 3, 1736 to March 7, 1809. Albrechtsberger was an Austrian theoretician and pedagogue of music, an organist, as well as a composer. He entered upon his career early as a choirboy in the choir of the monastery of Melk, Austria. There he was discovered by the crown prince, the later emperor Joseph II. The latter facilitated an appointment as the court organist.Later Albrechtsberger became conductor of the chapel choir of the famous Stephansdom in Vienna. Albrechtsberger was a highly praised pedagogue; Beethoven, too, was among his pupils. It was this composer that studied with Albrechtsberger from January 1794 to March/May 1795. Together with Beethoven, Albrechtsberger researched all forms of the counterpoint, which is most manifest in the large number of exercises passed down; over 300 studies, fugues etc. have been preserved with corrections and alterations by Albrechtsberger. During this period of study, greater works were also composed, such as the Dona Nobis Pacem (Hess A57), the Prelude and Fugue in E minor (Hess 29), the Prelude and Fugue in F major (Hess 30) and the present one in C major (Hess 31). The piece was probably composed in 1794-95; this opus also shows numerous improvements and alterations by his master, although some alterations are by Beethoven himself. The manuscript of the work is to be found in Vienna, and did not appear in print until 1967 for the first time.The present version sticks closely to Beethoven’s, but has been provided with a double bass part so as to adapt the work for being performed with a larger strength than for which it was originally written. The strength originally intended by Beethoven was two violins, a viola and a cello, so as a string quartet. With the supplementary bass part, the piece can also be played by a string orchestra, which will no doubt promote its dissemination and familiarity. In a sense, the work is already a preliminary study for the string quartets Opus 18 produced later.Especially the rhythm, melodic forms, and the counterpoint applied, frequently return in these string quartets. Beethoven has hardly indicated any rests in the empty bars; Cees has as yet added them.The phrasing, dynamics and time indications have also been added. Beethoven merely writes down the notes, while we have to accept the fact that various notes have been changed by Albrechtsberger but Beethoven’s notes might have been just as interesting. Of some notes it was not clear what Beethoven exactly meant; in such a case, Cees has adhered to the harmonious form, adapting the notes which, logically speaking, fit in with the harmonic unity.
$29.00 ≈
$39.19
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We Don Violin, Organ
