SKU: LV.9175

American Edition of Jenny Lind's Swedish Melodies. Stojande Verld Du Mig Plagar. [English and Swedish]. Composed by E.G. Geyer. Rendered into English from the Sweedish [sic] of Geyer by J. Wrey Mould. Published [n.d.] by William Hall & Son, 239l Broadway in New York. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Celebrities, Singers, Couples, Mountains, Cattles, Farms, Mills, Country life, Horns, Musical instruments, Steeples, Pines, Distress, Comfort, Nostalgia. First line reads What are the world and its pleasures? Vanity empty, faithless derision..

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WARNING: These titles are provided as historical documents.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: A0.1404109

Composer: F.Chopin 
Song: Valse (Waltz)/op.64-1 
Key: Desdur (sax inB♭) 
Orchestration: soprano sax & piano 
Level: Intermediate 
(There are individual differences in level) 
*with part score 
*This is an arrangement of the 1st edition.

In this arrangement, the melody is passed to the piano at the beginning. The ending that appears first (not as a tuplet) is the ending.

In the second version, the melody is passed to the piano around the middle. In the final 24-tuplet, the piano becomes the main melody, and there is a part where the soloist harmonizes. Only the last six notes of the 24-note tuplet are played by the soloist and the piano, each eighth note.

Please choose according to your preference.

I arranged Chopin's famous piece into a piano trio. Please take this opportunity to try it.

SKU: A0.1397175

The extended edition features three versions of each song. Duration: ca. 40 minutes.

O Come, O Come, Emmanuel (Veni, Veni, Emmanuel)

Lo, He Comes with Clouds Descending (Helmsley)

Joy to the World (Antioch)

It Came Upon a Midnight Clear (Carol) 

Lo, How a Rose E’er Blooming (Es ist ein Ros)

Angels We Have Heard on High (Gloria) 

God Rest Ye Merry, Gentlemen (God Rest You Merry)

What Child is This? (Greensleeves)

In Sweet Rejoicing (In dulci jubilo)

Hark! the Herald Angels Sing (Mendelssohn) 

Let Them Sing Today (Personet hodie) 

The First Noel 

At the Lamb's High Feast, We Sing (Salzburg)

We Three Kings (Three Kings of Orient)

O Come, All Ye Faithful (Adeste Fidelis)

O Little Town of Bethlehem (St. Louis)

Away in a Manger (Mueller) 

Silent Night (Stille Nacht) 

Auld Lang Syne 

We Wish You a Merry Christmas.

SKU: A0.1303524

The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well.

Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition.

All Accessible Accompaniments, including this one, boast several unique features:
1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

SKU: A0.1412190

Double Bassists are constantly searching for music to perform, as there is not an abundance of solo music written specifically for the instrument.  This often results in students performing music that is uncharacteristic to the double bass, hence making the learning process more arduous.  Domenico Dragonetti’s 12 Waltzes are likely the first known works written for the unaccompanied modern double bass, yet they are not considered a standard part of the pedagogical repertoire. It is my hope that this teaching edition of these works will enable double bassists of all levels to add this wonderful, idiomatic music to their repertoire.

SKU: A0.1412192

Double Bassists are constantly searching for music to perform, as there is not an abundance of solo music written specifically for the instrument.  This often results in students performing music that is uncharacteristic to the double bass, hence making the learning process more arduous.  Domenico Dragonettiâ??s 12 Waltzes are likely the first known works written for the unaccompanied modern double bass, yet they are not considered a standard part of the pedagogical repertoire. It is my hope that this teaching edition of these works will enable double bassists of all levels to add this wonderful, idiomatic music to their repertoire.