Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1050444 By Henri A. C. Malan and Sharon Wilson. By Frances R. Havergal, Frances Ridley Havergal, and Henri A. C. Malan. Arranged by Sharon Wilson. Children,Praise & Worship,Romantic Period,Sacred,Traditional. Score and parts. 15 pages. Sharon Wilson #654799. Published by Sharon Wilson (A0.1050444). Here is an instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment) of the familiar hymn Take My Life and Let It Be by Henri A. C. Malan. This slightly rhythmic, yet flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by Frances R. Havergal: Take my life, and let it be Consecrated, Lord, to Thee; Take my moments and my days, Let them flow in ceaseless praise. Both the VIOLIN and CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The VIOLIN plays the melody for the first verse and then the CELLO leads with the melody for the second verse. The song begins in the key of G major and then transitions to the key of C major for the second verse. The range for each part is as follows: VIOLIN – D4 to F5; CELLO – G2 to C4 (middle C). 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. The purchase price includes these printing options: 1. a grand staff (6 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 hymn of consecration and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin and Cello Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.702660 By Sharon Wilson. By Edmund S. Lorenz and Jeremiah E. Rankin. Arranged by Sharon Wilson. Children,Praise & Worship,Romantic Period,Sacred. Score and parts. 16 pages. Sharon Wilson #311226. Published by Sharon Wilson (A0.702660). Here is a cheerful instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of the encouraging hymn Tell It to Jesus by Edmund S. Lorenz. All three instruments lead with the melody at times, even the PIANO. The VIOLIN plays the melody for the first verse and chorus and then all three instruments alternate playing the melody for the second verse and chorus. This flowing instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred repertoire. Duration 2:00. The range for each part is as follows: VIOLIN ~ G4 to B5; CELLO ~ G2 to C4 (middle C).. 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. The purchase price includes these printing options: 1. a grand staff (7 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) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1363672 By Sharon Wilson. By Charles Wesley and Thomas Campbell. Arranged by Sharon Wilson. Christian,Easter,Praise & Worship,Romantic Period,Sacred. 24 pages. Sharon Wilson #948067. Published by Sharon Wilson (A0.1363672). Here is a majestic instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of a beautiful hymn from the early 1800's titled And Can It Be by Thomas Campbell. Both the VIOLIN and CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The song begins in the key of C major for the first verse, then transitions during the piano interlude to the key of G major for the second verse.The range for each part is as follows: VIOLIN ~ E4 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 3:15.The purchase price includes these printing options: 1. a grand staff (10 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (4 pages)3. a combined VIOLIN and CELLO score (4 pages)This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 4 (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 - 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,String Ensemble Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1047344 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 29 pages. Blaze Scheuerman #651902. Published by Blaze Scheuerman (A0.1047344). First love is inspired by my experience with the first partner I ever loved. It is also slightly inspired by Johann Sebastian Bach’s fugues from the Well Tempered Clavier and Muse’s song “Butterflies and Hurricanes� from the album “Absolution�. It is meant to show the ups and downs of the relationship, especially how the more developed it got the more problems arose. It starts with a cloud-like scene meant to depict mild attraction. It then develops into infatuation in measure 21 as the main character gets to enjoy his experiences with his partner. It lasts for a little while as he finds newer and newer aspects of his partner that he enjoys. He then returns to a moment of stability with the restatement of the opening theme, and then tries again to get back into those moments of bliss. But this time something goes wrong. The character doesn’t quite realize it until it is too late, but a rift appears in the relationship. This is shown in the D Minor section, as the main character is sad and longing for things to go back to how they were, but is just stuck. After a while of trying different things, a settlement is reached and the two get closer again in the relationship, seen in measure 174. Except this time things are different, they are close to the bond shown earlier, except not quite there. This can be seen with the rearrangement of voices in regards to the melody, such as the cello having the melody except the violin in measure 190. Although the two try their best, the relationship once again reaches a rift between the two, seen with the reemergence of the D Minor section. They try once again to patch things up, but end up becoming unsuccessful and breaking apart. The final sections starting at measure 246 depict the sadness and anger that follow, before eventually reaching a resolution back into the home key of F Major.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1488223 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 64 pages. Artaria Editions #1065109. Published by Artaria Editions (A0.1488223). Ferdinand Ries (1784-1838) was one of the greatest pianists of his time and a composer of exceptional abilities. Ries studied pianoforte (but not composition) with Beethoven in Vienna and the two men remained on cordial terms for the rest of their lives. In the last year of his life Ries co-wrote a book of Beethoven reminiscences that remain one of the most valuable sources of information about his life and character. The place and date of composition of the Sonate Sentimentale is uncertain in spite of the apparently conclusive evidence to the contrary: Ries's autograph score is dated 'Godesberg 1814' but by this time Ries was living in London. The discrepancy is probably due to the fact that Ries added the date to this manuscript, as he did to many others, in the 1820s. One of the most intriguing aspects of this work is the difference between Ries's original conception and the work as it appeared in its first published edition in 1834. The extent of the changes points to a substantial authorial revision of the work made prior to publication rather than a garbled transmission of the original text. Among the most striking of these changes is the inclusion of a brief introduction to the first movement; but other passages are extensively rewritten and in some instances lengthened by the inclusion of additional material. As with all Ries's works for flute, the Sonate Sentimentale is exceptionally well written for the instrument and yet perhaps even more impressive is the way in which Ries balances the musical texture and exploits the full potential of both the flute and piano. The beautiful work is arguably the most impressive flute sonata of the early 19th century. Allan Badley.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.752437 Composed by Igor Stravinsky. Arranged by Rob Bushnell. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 12 pages. RBMusic #6294559. Published by RBMusic (A0.752437). The Firebird suite, by Russian-born composer Igor Stravinsky, is based on his 1910 ballet of the same name. It, in turn, is based on the Russian fairy tales of the Firebird and the blessing/curse it possesses for anyone who owns it. The ballet premiered at Opéra de Paris as part of Sergei Diaghilev's Ballets Russes company and was an immediate successful, bringing Stravinsky international fame. The ballet tells the story of the journey of Prince Ivan. He strays into the realm of the evil Koschei, whose immortality is preserved by keeping his soul in a magic egg. Ivan is about to kill the Firebird but is spared. As a token of thanks, she offers him a feather that can be used to summon her should Ivan be in dire need. Prince Ivan then meets princesses who are under Koschei’s spell, falling in love with one of them. After confronting the magician, Koschei sends his minions after Ivan, who summons the Firebird. She intervenes and bewitches the monsters. Exhausted, the creatures and Koschei then fall into a deep sleep. Ivan is then directed by the Firebird to the egg containing Koschei's soul, which Ivan destroys, freeing all those under his spell. Ivan and the princesses celebrate their victory. The music features in Disney’s Fantasia 2000. This arrangement of The Princesses’ Round Dance is for piano trio (violin, violoncello and piano). Great as background music or as a concert item in its own right. A recording of the music from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=4U5xhOISyvA. Other searchable terms: L'Oiseau de feu, Жар-птица, The Princesses’ Round Dance, Rondo, Khorovod, Suite 1919, 1919 Version, Ronde, Khorovode, РО�ДО, ХОРОВОД, ПРИ�ЦЕСС, ЛЮКС 1919 Г., ВЕРСИЯ 1919 Г., Rise of the Guardians, New York Philharmonic Young People's Concerts

Small Ensemble Cello,Piano Accompaniment,Violin - Level 2 - Digital Download SKU: A0.1033993 By Adam Lambert. By Roland Orzabal. Arranged by Madeline J Stratford. Classical,Contemporary,Film/TV,Pop. Score and parts. 11 pages. Madeline Stratford #639316. Published by Madeline Stratford (A0.1033993). This arrangement is for Violin, Cello and Piano. There are 2 Violin parts. The main melody does a call and response between Violins, and then also the Piano takes the melody for the Chorus. This is based on the Donnie Darko Mad World Theme, and is written for beginner/intermediate players. The Cello part has some double stopping, but if you can't double stop confidently, then you can just play the bass note. It's in the key of D Dorian, which has a Root note and Chord of D minor, but has the notes of C Major. This download includes a full score of all parts, as well as individual, separated parts for Violin 1, Violin 2, Cello and Piano. Piano sheet music for Mad World Violin sheet music for Mad World Piano accompaniment for Mad World.

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 - Level 2 - Digital Download SKU: A0.549903 Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christmas,Standards. 9 pages. Jmsgu3 #3685139. Published by jmsgu3 (A0.549903). Arranged with new harmony for the final verse. Origins The First Noel is an English Christmas carol. Even more, it was probably written in the late Cornish Renaissance period. While other versions spell the title as Nowell, this is a colloquial variation. Furthermore, Noel is an older word meaning Christmas. Therefore the First Noel translates as the First Christmas. First of all, Gilbert and Sandy published the earliest version. As a result, this version appears in the Carols Ancient and Modern songbook of 1823. William Sandy edited and arranged the book. Similarly, his partner Davies Gilbert edited and added the familiar extra verses.  Stainer Organist and composer Sir John Stainer published the most noteworthy customary arrangement in the 1870s.  Stainer is, above all, famous for his songbook entitled: Christmas Carols New and Old (1871). This volume served as an essential catalyst for reviving the English Christmas carol.  Other famous Stainer arrangements from this book include What Child Is This, God Rest Ye Merry Gentlemen, Good King Wenceslas, and I Saw Three Ships. Diatonic Function The melodic structure in the First Noel is uncommon among English folk tunes. It simply repeats one phrase twice and then follows a variation refrain. All three phrases of the song end on the mediant scale degree. This is unusual because the diatonic function of the mediant is non-final compared to the more usual tonic or even dominant degrees. Consequently, this gives the song an open-ended feeling – like maybe it never ends. Political Context The Catholic clergy sang carols outside of the church in Latin. After the Protestant Reformation, the reformers thought it would be better for everyone to sing carols. They decided to bring music back to the common folk. So, they translated the lyrics from Latin into a common language. Moreover, the Protestants wanted more control over the music in the church than what the Vatican allowed. Protestant composers such as William Byrd composed complex polyphonic Christmas music that they called carols. Nonetheless, some famous folk carols were composed in this era. Eminent composers in the nineteenth century began to revise and adapt them. Consequently, they revived the English carol.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1227236 Composed by Johannes Brahms. Arranged by Cameron Brown. 19th Century,Classical,Romantic Period. 15 pages. Cameron Brown #823242. Published by Cameron Brown (A0.1227236). A Piano Trio arrangement of one of Brahms' most well-known pieces.This modern arrangement is in the easier key of Gb Major instead of the original F#minor key.It features a dramatic piano opening which is sure to catch attention, but then bursts into the well-known melody which transfers over to the cello occasionally. Along the way, there are a few minor chord changes which give it a modern and exciting twist.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.867208 Composed by Julietta Anne Rabens. 20th Century,Concert,Contemporary. Score and parts. 25 pages. Juliettamusic #2039389. Published by Juliettamusic (A0.867208). This delicate set of variations opens with a pointillistic texture, rather than a clear thematic idea. It poetically evokes the ethereal sounds and textures of the quiet stillness of twilight by painting a picture of the brightness of the sun emerging to fill a sky once speckled with fragmented points of light. The variations are grouped first by pointillistic textures, then lyrical melodies in which the theme is heard for the first time, followed by a climactic section, and finally a combination of pointillistic and lyrical material. It is best suited for early advanced players or above and would work well as a recital piece.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148). A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.

Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1160127 By Nat King Cole. By Eden Ahbez. Arranged by Stephen DeCesare. 20th Century,Contest,Festival,Jazz,Singer/Songwriter,Standards. 15 pages. Exultet Music #760407. Published by Exultet Music (A0.1160127). The song that was made popular by Nat King Cole has been scored as a sophisticated, unique arrangement as a duet for Violin and Cello with Piano accompaniment. It starts as one would normally hear it and then becomes a respectful and entertaining Bossanova.

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.