SKU: A0.1104290

FROLIC

Advanced Intermediate Piano Solo

by ROBERT VAN HORNE

 9 pages

Duration is about 3:20

In 1995, while performing at Nordstrom Valley Fair in San Jose, CA, I was asked to participate in a group of other Nordstrom pianists from all over the United States in a charitable Holiday project to benefit the “Make A Wish Foundation.�

I was told to record several Holiday pieces and submit them to the main office in Seattle.

It was a sunny Saturday morning in May when I recorded in my home a few of my favorite holiday songs, like Silent Night, Have Yourself A Merry Little Christmas, God Rest Ye Merry Gentlemen and other Christmas carols.

After doing this, I asked myself, why don't I compose a new instrumental piano piece and submit it along with the other familiar demo examples.

I imagined children playing in the snow, sledding down hills, their excitement on Christmas morning, and the wonderful spirit of the holiday season. After a little while I composed this piece. I then thought to myself; “I’ll call it CHRISTMAS FROLIC.

Even though Nordstrom never used this piece on their Holiday CD, I performed it for audiences. I remember once telling a friend, “Here’s a new piece I composed called CHRISTMAS FROLIC, however, it can only be played during the Christmas season. My friend replied; “Robert, why don’t you just call it FROLIC, then you can play it all year long.

The sheet music is clearly notated with dynamic and articulation marks, phrasing, pedal indications, suggested fingerings and appropriate musical terms for playing.

This advanced intermediate piano solo can be played year around. It is an excellent teaching piece that can be used in recitals and school musical events and makes and excellent encore for professionals.

It is a delightful musical listening treat for audiences and ideal for more advanced piano students.

FROLIC was recorded as a piano selection in 1998 on Robert’s CD entitled PIANO & MEMORIES. The audio sample from the album has accompanied orchestral instrumentation and is not included in the piano sheet music.

Robert Van Horne is a long standing member of ASCAP.

Official Website: www.robertvanhorne.com
Email: rvh@robertvanhorne.com

Here is the link to the video: YouTube Link: https://youtu.be/8tC7nyF6W0I.

SKU: A0.532356

Enrique Granados (1867–1916) was a Spanish pianist and composer of classical music. His music is in a uniquely Spanish style and, as such, representative of musical nationalism. Granados wrote piano music, chamber music, songs, zarzuelas, and an orchestral tone poem based on Dante’s Divine Comedy. Many of his piano compositions have been transcribed for the classical guitar and are generally considered as some of the most beautiful music in the guitar repertoire: examples include Danza No. 5 and Goyescas.

SKU: A0.784325

Donut Etudes vol. 3: Don’t Step in the Holes!

1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments 

If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!

The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!

I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.

As with those initial exercises, you can vary these as much as you’d like.

·      Choose a tempo.

·      Choose a dynamic.

·      Choose an articulation/style.

One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.

Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.

If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.

The variations are endless!

If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.

All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!

Enjoy!

SKU: A0.876676

When I originally spoke with Sande MacMorran, the tuba player for whom I composed the piece, we discussed the technicalities of the instrument; its optimal range, timbre, and articulation. Sande mentioned, in passing, that the rhythm of swing music is a natural fit for the instrument and even sang a few lines to give examples.

In the following days, when I began to plan the new composition, I was surprised that the idea of playing ping-pong unexpectedly took hold of my mind and I couldn’t shake it off. At first, it seemed random and unrelated, but then, as I thought about the rhythmic patterns of the game, it all became clear.

In ping-pong, the paddle hits the ball and then the ball hits the table in a pattern reminiscent of the rhythm of swing. While beginners tend to play slower, in triplets, the professionals, much faster, with the table note dotted or even double-dotted. Once I realized what my subconscious was trying to tell me, I listened to (not merely watched) several videos of ping-pong matches and discovered a wealth of entertaining rhythmic patterns. Thus the idea for this miniature tuba piece was born.

While the tuba may seem a clumsy and awkward instrument, it is actually quite agile and flexible. It can perform many challenging melodic figures or quick jumps between registers, and it can certainly play ping-pong.

Total duration: 1’25, suitable for advanced players.

SKU: A0.553712

The First Suite in Eâ™­ for Military Band, Op. 28, No. 1, by the British composer Gustav Holst is considered one of the cornerstone masterworks in the concert band repertoire. Officially premiered in 1920 at the Royal Military School of Music, the manuscript was originally completed in 1909. Along with the subsequent Second Suite in F for Military Band, written in 1911 and premiered in 1922, the First Suite was the catalysing force that convinced many other prominent composers that serious music could be written specifically for the combination of woodwinds, percussion and brass.

 Works such as the English Folk Song Suite (1923) of Ralph Vaughan Williams and the William Byrd Suite (1923) of Gordon Jacob are leading examples.

This is my arrangement of the second movement Intermezzo

It is arranged for wind dectet/double wind quintet and bass.

SKU: A0.1515801

Advent ist es heut'
Macht hoch die Tür
Tochter Zion
Wie soll ich dich empfangen
Die Nacht ist vorgedrungen / Gelobet sei der König

Orgel-Vorspiele vor dem Gemeindegesang ist für mich sehr wichtiges Thema. Gleichzeitig sehr spannend, da wohl keines dem anderen gleicht. Ich habe hier für die Adventszeit ganz bewusst kurze und ziemlich einfache Vorspiele für euch komponiert, die ihr vor dem Gemeindegesang spielen könnt. Alternativ sind diese Kompositionen auch als Nachspiele zu verwenden. Teilweise eignen sich diese auch als Vorbereitung auf das Gemeindelied vor dem Gottesdienst Ich hoffe sehr, dass euch die Zusammenstellung dieser Vorspiele gefällt. Diese Choräle sind in nahezu allen christlichen Gesangbüchern enthalten. Die Nummern in den Videos sind exemplarisch für das Gesangbuch der neuapostolischen Kirche

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Organ preludes before congregational singing are an important and interesting topic for me. I have deliberately composed short and fairly simple preludes for you during Advent, which you can play before the congregational singing. Alternatively, these compositions can also be used as postludes. Some of these are also suitable as preparation for the congregational song before the service. I really hope that you like the compilation of these preludes. These hymns are included in almost all Christian hymn books. The numbers in the videos are examples of the hymn book of the New Apostolic Church.

SKU: A0.790130

2-Part Invention No. 7 in E minor by J.S. BACH, BWV 778 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written.

The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. 

Other similar arrangements and selections from DIAMOND S MUSIC available at:

https://www.sheetmusicplus.com/publishers/diamond-s-music/6940

SKU: A0.531059

The origin of the tune was for a long time somewhat mysterious, as no other collector of folk tunes encountered it, and all known examples are descended from Ms. Ross’ submission to Petrie’s collection (1855). The title of the air comes from the name of the county located in Northern Ireland. The air was collected by Jane Ross of Limavady, County Londonderry, who heard it played by an itinerant piper or fiddler. The descendants of blind fiddler Jimmy McCurry assert that he is the musician from whom she transcribed the tune but there is no historical evidence to support this speculation. The tune was listed as an anonymous air, with a note attributing its collection to Jane Ross of Londonderry. This led to the descriptive title Londonderry Air being used for the piece.

SKU: A0.1497339

Replace ordinary chords with enhanced substitute harmonies.

For Arrangers - Composers - Improvisers - Pianists

SKU: A0.1347190

Boyce composed a set of twelve trio sonatas he described as being in the 'Italian' style. They were first published in 1747 and proved to be very popular. Handel is listed on the first list of subscribers. They are beautiful examples of their type and will be enjoyed by the performers and any audience.