Composed by James Gilbert. 21st Century, 20th Century, Contemporary Classical, Neo-Classical. Score, Set of Parts. 12 pages. Published by James Gilbert Music (S0.116469). - Score,Set of Parts - 21st Century,20th Century,Contemporary Classical,Neo-Classical - James Gilbert Music

Composed by Ronald James Karle. Contemporary Classical, Movies, Etudes and Exercises, Repertoire, Recital. Score, Set of Parts. 11 pages. Published by Ronald James Karle (S0.217011). - Score,Set of Parts - Contemporary Classical,Movies,Etudes and Exercises,Repertoire,Recital - Ronald James Karle

Composed by Folk Song. Arranged by James Michael Stevens. Post-Romantic, Repertoire, World, Folk, Recital. Sheet Music Single. 8 pages. Published by James M Stevens Music ASCAP (S0.211397). - Sheet Music Single - Post-Romantic,Repertoire,World,Folk,Recital - James M Stevens Music ASCAP

By James Mountain and Sharon Wilson. By Frances R. Havergal, Frances Ridley Havergal, and James Mountain. Arranged by Sharon Wilson. Children, Folk, Praise & Worship, Sacred, Traditional. Score and parts. 15 pages. Sharon Wilson #654804. Published by Sharon Wilson

Composed by Monty Norman. Arranged by Uwe Roessler / Rössler / Rassler. 20th Century, Film/TV, Jazz, Pop, Standards. Score and parts. 12 pages. Uwe Roessler #118397. Published by Uwe Roessler

Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.762958 Composed by Monty Norman. Arranged by Antti Hakkarainen. Film/TV,Jazz,Pop. Score and parts. 10 pages. Antti Hakkarainen #370666. Published by Antti Hakkarainen (A0.762958). Score and all parts included.

Piano Trio - Level 3 - Digital Download SKU: A0.549883 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Wedding. 33 pages. Jmsgu3 #3601997. Published by jmsgu3 (A0.549883). Score: 18 pages, piano part: 6 pages, cello part: 4 pages, violin part: 4 pages. duration: ca. 5'. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra, then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words.  Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic o.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1287093 Composed by James Nathaniel Holland. 21st Century,Contemporary,Wedding. 245 pages. James Nathaniel Holland #878101. Published by James Nathaniel Holland (A0.1287093). FULL SCORE AND INDIVIDUAL PARTS (Violin, Cello, Piano)  Three piano trios from 21st century, American composer James Nathaniel Holland each with various moods.  Although contemporary, pieces are accessible and versatile to be used for recitals, restaurants, weddings or events as well as formal concerts.  (License or permission to perform may apply.)Each Trio roughly 20 minutes in length with multiple movements.

Piano Trio Cello,Piano,Violin - Digital Download SKU: A0.932514 Composed by James Bersey. Chamber,Classical,Contemporary,Contest,Festival,Instructional. 94 pages. James Bersey #6211017. Published by James Bersey (A0.932514). PIANO TRIO (in 3 movements)composed byJAMES BERSEYPRINTING:For A4 booklet- set printer to A3 paper and select A4 booklet no staples or binding requiredor print A4 back-back and bind© Copyright protected - All rights reserved

Piano Trio - Level 1 - Digital Download SKU: A0.548637 Composed by Mueller. Arranged by James M. Guthrie, ASCAP. Christmas. 6 pages. Jmsgu3 #3405971. Published by jmsgu3 (A0.548637). Arranged for Piano Trio with a re-harmonized final verse.  Away in a Manger is a popular Christmas song published in the late 19th century and performed worldwide. In England, it is considered one of the two most popular carols of all time; a 1996 poll ranked it as a tie for second place. To begin with, many thought Martin Luther wrote it, but now the song is considered American. The most common musical arrangements are by William Kirkpatrick (1895) and James R. Murray (1887). The melody was first published as Luther's Cradle Hymn by James R. Murray. Then came a confusing series of explanations about how Martin Luther wrote the song. Murray even went so far as to suggest that Luther wrote it for his children. As a result, the music has become known as Mueller. Nobody knows who this Mueller is, but the name stuck. Popularity By the 1880's the cradle song was being performed in church. By the 1990's the song was becoming the most popular Christmas song ever. Nearly everyone sang it in school, in church, and at home. Other musical settings The first musical setting published with the lyrics appeared in the Little Children's Book for Schools and Families (1885). The title was Away in a Manger. This edition is the first one not attributing the song to Martin Luther. Charles H. Gabriel was the first arranger to present the third verse. He also composed and published many different arrangements of the song. In one of his settings, he supplies a chorus for each verse with asleep sung in canon. Another prevalent preparation uses the lyrics to the melody Flow Gently, Sweet Afton Yet another arrangement uses the songs to an old Normandy carol. 

Piano Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1371192 By Sharon Wilson. By James McGranahan. Arranged by Sharon Wilson. 19th Century,Christian,Holiday,Praise & Worship,Sacred. 17 pages. Sharon Wilson #955443. Published by Sharon Wilson (A0.1371192). Here is an instrumental trio (for VIOLIN and CELLO Duet with PIANO accompaniment) of the favorite classic hymn Showers of Blessing by James McGranahan. The CELLO plays the melody for the first verse and the VIOLIN leads with the melody for the second verse. This upbeat and cheerful instrumental arrangement is an ideal selection for a church setting and a valuable addition to the sacred repertoire of string players. The range for each part is as follows: VIOLIN ~ G4 to B5; CELLO ~ B2 to D4. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. Duration 2:15.The purchase price includes these printing options: 1. a grand staff (8 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (1 page each) and PIANO (3 pages)3. a combined VIOLIN and CELLO score (2 pages)This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 5 (Collection of 10 Hymns for Violin, Cello, and Piano).Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1065108. Published by Artaria Editions (A0.1488222). The Piano Trio in E flat, Op.2 was published by Simrock in 1807 with a dedication to Monsieur le Comte de Browne, Brigadeur au Service de S.M.J. de toutes les Russies. It is a generously proportioned work in the usual three movements. The lengthy sonata-from first movement is prefaced by a slow introduction which begins on dominant seventh harmony (a nod perhaps to Beethoven's first symphony), slowly finding its way to the tonic by the start of the Allegro section. The brief development section modulates widely, including references to keys as distant as E minor and C major, while the substantially rewritten and varied recapitulation touches on both B and G majors. The slow movement, Andante un poco Allegretto , is cast in the key of C minor and features many solos and duets for the string instruments as well as further harmonic interest, especially in the central modulating episode from bar 46. The finale is a sonata-rondo design complete with all the usual tricks, including even a remote transposition of the refrain late in the movement to B major, a technique surely learned from Beethoven. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Simrock's edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The piano part is most successfully realised on an instrument extending as far as c4, although since such instruments were by no means standard in the first decade of the 19th century, Ries has notated the part carefully to cater for instruments without an extended treble compass. Any alternative readings have been incorporated into the current edition exactly as they appear in the Simrock print. In an instance such as bars 298-309 of the finale for example, instruments with the extended compass should follow the small print in bars 298 and 309, and in between read the notes an octave higher according to the composer's 8ve marking. Instruments with a limited compass should play the notes as written, without the octave transposition of bars 299-309. The cello part contains several passages written in the treble clef. Evidence that these should sound an octave lower than written is provided by bars 74-80 of the first movement and 85-89 of the finale. In the first instance, awkward octave displacements would result if this passage were played literally; in the second instance, some unacceptable part crossing between violin and cello would result from a literal rendition of these two bars. Accordingly then, all passages written in the treble clef should be transposed down an octave. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1370735 By Sharon Wilson. By James McGranahan. Arranged by Sharon Wilson. 19th Century,Christian,Praise & Worship,Romantic Period,Sacred. 16 pages. Sharon Wilson #955071. Published by Sharon Wilson (A0.1370735). Here is a gently flowing instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of the meditative hymn I Know Whom I Have Believed by James McGranahan. Both the CELLO and the VIOLIN get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The song begins in the key of C major for the first verse, then transitions during the piano interlude to the key of G major for the second verse. This peaceful and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred repertoire. Duration 2:15.The range for each part is as follows: VIOLIN ~ G4 to A5; CELLO ~ G2 to C4. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. Duration 2:15.The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for the CELLO and VIOLIN (1 page each) and PIANO (3 pages)3. a combined CELLO and VIOLIN score (2 pages)This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 5 (Collection of 10 Hymns for Violin, Cello, and Piano).Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.

By James Mountain, Ludwig van Beethoven, Georg Neumark, Charles H. Gabriel, William B. Bradbury, and Sharon Wilson. By Arthur Henry Mann, George C. Stebbins, Henri A. C. Malan, James Mountain, John Hugh McNaughton, Lugwig Van Beethoven, Georg Neumark, Charles H. Gabriel, and William B. Bradbury. Arranged by Sharon Wilson. Children, Holiday, Praise & Worship, Sacred, Traditional. Score and parts. 144 pages. Sharon Wilson #654786. Published by Sharon Wilson