SKU: A0.1243741

Easy piece for piano, also suitable for organ (church service), this ist why the audio sample is with organ, engraved with Lilypond
Leichtes Klavierstück, auch für Orgel geeignet (das Soundbeispiel wurde mit Orgel erstellt), gesetzt mit Lilypond

LilyPond is a music engraving program, devoted to producing the highest-quality sheet music possible. It brings the aesthetics of traditionally engraved music to computer printouts. LilyPond is free software.

If you are satisfied with the sheet music I would appreciate your feedback. If you are not satisfied I would try to improve the sheet according to your criticism.

Warum Lilypond? Die modernen, mit Computerprogrammen gesetzten Noten wirken irgendwie steril. Lilypond bringt die Ästhetik der historischen Notendruckkunst auf den Computer.

Wenn Sie mit den Noten zufrieden sind, würde ich mich über eine Rückmeldung freuen. Wenn Sie nicht zufrieden sind, würde ich mich bemühen, die Noten zu verbessern.

SKU: LV.23096

General Robert L. McCook's Funeral March. Composed by F.W. Rauch. Published 1862 by R. Wurlitzer, 123 Main Str. in Cincinnati. Composition of sectional with piano instrumentation. Subject headings for this piece include Portraits, Military officers, Civil War--Union.

About The Lester S. Levy Collection

The 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WARNING: These titles are provided as historical documents.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.

SKU: A0.1185187

Auld Lang Syne. Arrangement for Piano Solo. With Full Score and Chords. Enjoy it!

For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play

SKU: A0.1185186

Auld Lang Syne. Arrangement for Piano Solo. With Full Score and Chords. Enjoy it!

For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play

SKU: LV.11155

Harrisburg Home Waltz. Composed by Robert W. Troup. Published [n.d.] by compliments of The J.H. Troup Music House, No. 15 S. Market Sq. in Harrisburg, PA. Composition of da capo with trio with piano instrumentation. Subject headings for this piece include Music stores, Commercial buildings, Bicycles, Fire hydrants, Fire escapes.

About The Lester S. Levy Collection

The 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.

SKU: A0.795700

Josette’s Music Box

By Robert W. Colbert

Piano Solo – Intermediate

Arranged by David Kolinski-Schultz.  5 pages. Published by PDQ Music.

The theme played by the music box given to Josette DuPres Collins in the Gothic Soap Opera Dark Shadows. This arrangement opens quietly and simply, as if being played on a music box. The following stanzas gradually become richer and more harmonically involved, before returning to the music box motif at the end of the arrangement.

Approximate performance time (with all repeats): 2 minutes.     

SKU: A0.1140562

This two-part invention was composed by Robert W. Padgett in 1990 as a private exercise in invertible counterpoint. The upper voice announces the motive in the tonic key of A minor that quickly overlaps itself at the octave as a brief stretto. An episode consisting of a modulation sequence arrives at a half cadence in bar 4 in E major. The motive is then inverted in bar 5 by the upper voice followed by a partial restatement of the original motive by the lower voice in bar 6. This interplay between the motive’s inversion and its original form continues through bar 10 before a new episode modulates sequentially to a cadence in bar 13 with a statement by the lower voice of the original motive in the relative key of C major. An inversion of the original episodic sequence from bar 2 follows with slight alterations that cycle through a series of contrasting keys. A second interplay begins in bar 17 between the motive’s inversion in the lower voice followed by its partial restatement in the upper voice. The exchange of motive and countermotive by the upper and lower voices is an example of invertible counterpoint. In bar 27, an extended version of the motive begins in F minor before morphing back into A minor with the same modulation formula from bar 2 that redirects to a perfect cadence in the tonic key with a final Picardi third in A major.

SKU: A0.1138504

Berceuse is a lullaby composed for my nephew Nathaniel who was born prematurely at 27 weeks in Okinawa, Japan. In recognition of his truncated time in the womb, the work has 27 bars. The three-bar introduction represents his troubled pregnancy with a sudden Forzado in bar 3, symbolizing a premature rupture at 22 weeks when the water broke too soon. The repeated five-note accompaniment figures signify the five extra weeks he remained in utero before being delivered. The probability of a pregnancy continuing for five more weeks after a premature rupture is only 0.3%, an infinitesimally low figure. In recognition of the number three, each line consists of three bars with a total of nine lines which represents three multiplied by itself. In the last bar, adjacent note letters in the bass line (B-flat, A-flat, B-flat, E-flat, E-flat) spell BABEE, a phonetic rendering of Baby..

SKU: A0.1141386

I composed my Invention No. 3 in C minor for two voices during the Spring of 2012. The motive is intriguing as the first twelve notes are immediately followed by their inversion after a drop of a seventh to form a contrapuntal palindrome. This inversion is followed by an octave leap upwards to D that circles back to the starting note C. In bar 3, the lower voice introduces the motive a fourth lower at the dominant as the upper voice states the countermotive which concludes in bar 4 with an augmented tonal version of the descending scale run from the original motive. The ensuing episode in bars 5-8 is constructed from fragments of the motive in the upper voice accompanied by an embellished form of the countermotive in the lower voice. A series of ascending broken thirds accompanied by a rising scale run cadences in the tonic key of C minor in bar 10 before abruptly redirecting to G minor in bar 11. At this juncture, the motive and countermotive are restated in their inversions. The episodic sequence from bars 5-9 is also stated in an inverted form in bars 13-17. In bar 18, the motive is stated by the upper voice in G minor with the countermotive now in the lower voice. This formula is repeated a whole step lower in F minor in bars 20-21 followed by the modulation sequence from bars 5-8 reprised with the voices exchanging places. In bar 27, a cadence in F minor redirects back to C major in bar 28 followed by a modulation sequence culminating in C minor in bar 30 that cadences to a final Picardy Third in bar 32.

SKU: A0.1141383

This three-part Invention No. 2 in D minor was composed in the summer of 1991. I shared it with my modal and tonal counterpoint instructor, Professor Richard Wilson, and he responded favorably to my venturesome modulations and use of the Neapolitan chord. Similar to my first invention in A minor, the motive is announced by the upper voice before it is restated an octave lower by the lower voice in bar 2 to form a stretto. In bar 3, the middle voice states the motive in the dominant key of A minor with the lower and upper voices playing the first and second countermotives respectively. An episode ensues and arrives at a half cadence in bar 8. The opening fragment of the motive is exploited in conjunction with a pedal tone and a variant of the second countermotive to navigate through a series of contrasting keys. At bar 14, the motive is reasserted in F-sharp minor layered over itself in stretto with a C-sharp pedal tone in bar 15. The voices from the episode in bars 5-8 are reshuffled in bars 18-21 as another exercise in invertible counterpoint. In measure 16, the motive and two countermotives are reprised in C-sharp minor, a half step below the tonic key. Starting in bar 18, the episode from bars 6-8 is reprised in F-sharp minor with the first and second countermotives exchanging positions. This is followed in bars 16-27 by a varied restatement of the episodic sequence from bars 8-17 that cadences in bar 27 before a restatement of the subject in bar 28 in G minor with slightly embellished countermotives. Bars 32-35 present a restatement of the episode from bars 5-8 with the motive relocated to the lower voice and the two countermotives in intimate proximity in the two upper voices. An unexpected descending scale in a series of compound harmonic 10ths forms an inversion of the second half of the motive and sets the stage for a perfect cadence to a Picardy Third in D major. After so many years, I remain especially pleased with the effect of that ending.

SKU: A0.1141390

In April 1989, I sketched a simpler and shorter version of this three-voice Sinfonia as my final exam for my tonal counterpoint class with Professor Richard Wilson at Vassar College. Although granted two weeks to complete this assignment, I delayed starting my sketch until the evening before it was due. I finalized it by 1 AM the following morning in the Victorian-style Rose Parlor in the Main Building. In November 2020, I extensively revised and lengthened this three-voice Sinfonia with the goal of experimenting more extensively with various contrapuntal devices such as augmentation, diminution, stretto, inversion, and retrograde motion.

SKU: A0.1079130

This revival hymn has been set in a ragtime style by arranger Pamela M. Robertson. This arrangement is about 2 minutes in length, making it easily suited for use in worship services as a prelude or postlude, and is early-advanced in difficulty.