2 Pianos,8 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1038263 By Châu Gia Chuyển. By Châu Gia Chuyển. Arranged by Châu Gia Chuyển. A Cappella,Country,Multicultural,New Age,Standards,World. Score. 1 pages. Châu Gia Chuyển #643198. Published by Châu Gia Chuyển (A0.1038263). �ã Quên Câu Th� 2 Sáng tác : Châu Gia Chuyển Ca sĩ : Châu Gia Chuyển Thu Âm : M-Studio Hưng Yên �ịa Chỉ : Lê Như Hổ - Hồng Nam - Tp Hưng Yên - Việt Nam Tình ơi ngư�i nơi ấy có vui gì không Th�i gian trôi kỷ niệm chôn dấu Sầu bi ai mang suốt cuộc đ�i Tình mình gi� xa cách nơi chân tr�i hoang Lòng anh ngày đêm nhớ đến em ngư�i ơi Ngoài hiên mưa hàng cây khép lối ��i v� đâu khi quên câu th� Rằng cả đ�i yêu chỉ một ngư�i mà thôi Tình yêu ta nay xa mù khơi L�i hứa yêu sao nỡ quên rồi Ngồi bên ai em vui bên tình duyên mới ( hát đệm)Trót lưỡi đầu môi �ành phải quên đi cầu th� xưa Tr�i cứ mưa ai nhớ chăng ngư�i Hẹn kiếp sau mong không ai lừa dối nữa ( Hát đệm )Sẽ yêu thật tâm Dù cho em đang vui cùng ai Anh nguyện xin chúc phúc cho ngư�i Ngàn đóa hoa anh mang dành tặng em đó ( hát đệm ) chúc em bình an Một ni�m tin anh trao v� em Một nỗi đau anh khắc trong lòng Tình cách xa hai ta mỗi ngư�i một lối Ngư�i đã đi rồi * Các bản phẩm âm nhạc của Châu Gia Chuyển bao gồm phần beat hòa âm, phối khí đ�u thuộc quy�n sở hữu của Châu Gia Chuyển Liên hệ hợp tác : Phân phối và phát hành - chaugiachuyen1984@gmail.com - doantinhthuong@gmail.com - S�T : + 84 98 868 4224 - Bản quy�n thuộc v� Châu Gia Chuyển - VCPMC - Không sao chép dưới m�i hình thức ================================================= Chau Gia Chuyen's musical compositions, including the beat, mixing and arrangement, are all owned by Chau Gia Chuyen Contact for cooperation: Distribution and distribution - chaugiachuyen1984@gmail.com - doantinhthuong@gmail.com - Tel: + 84 98 868 4224 - Copyright belongs to Chau Gia Chuyen - VCPMC - Do not copy in any form.

String Orchestra - Level 4 - Digital Download SKU: A0.1164163 Composed by Dennis Bathory-Kitsz. Arranged by Dennis Bathory-Kitsz. Classical,Folk,Historic,Traditional. Score and Parts. 89 pages. Westleaf Edition #764511. Published by Westleaf Edition (A0.1164163). These Five Hungarian Folks Songs were transcribed and arranged from 78rpm records issued about 1915.Király Ernő sings several as Old Folk Songs (“Régi Népdalok�), even though Megugrattak Hortobágyon A Karámból Egy Csikót was composed by Vajda József and remains an often recorded song. Megy A Gőzös Lefelé on the Munkacsy recording was composed by Rózsa S. Lajos, but composers of the remaining songs are unidentified.The records were purchased by József Báthory in Manhattan in the early 20th century, and remained in the family until the 21st century. All the records were transferred to digital form in January 2013, with the original transfer stored in exact condition, after which they were passed on to historian David Neal Lewis for archiving. Files were restored from the digital transfers (rumble, clicks, pops removed as much as possible, noise reduction, and some remastering) and are available for download at:http://maltedmedia.com/people/bathory/hungarian.htmlSpecial thanks to composer �dám Kondor for translations of the Régi Népdalok texts, and to Dr. A. S. Weinstangel for noting errors in the score. The bowings in this edition are by violinist John Lindsey, who directed the premiere of this set with Vermont’s Eleva Chamber Players.Katika Csárdásoriginal performed by unidentified “Military Band�, Columbia 10-inch E920Nyári este furulyázom sokáig(‘I play the flute all summer eve’)original performed by Király Ernő on “Régi Népdalok�, Columbia 12-inch E5077Bíhari Hatarszélén – Megy A Gőzös Lefelé – Csárdás(‘At the Bihari border’ - ‘The steamer goes down’ - Csárdás)original performed by the Olga B. Munkacsy Orchestra, Columbia 10-inch E2858Megugrattak Hortobágyon A Karámból Egy Csikót(‘Bringing the pony to the Hortobágyon Woods’)original performed by Király Ernő on “Régi Népdalok�, Columbia 12-inch E5077Debreczeni Csárdás Friss(‘New Debreczen Csárdás’)original performed by unidentified “Military Band�, Columbia 10-inch E920.

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.

Instrumental Duet Guitar,Instrumental Duet,Voice - Digital Download SKU: A0.908983 Composed by Macke Granberg, Tomas Nyberg. Children. Score and parts. 2 pages. Marcurius Productions #3877051. Published by Marcurius Productions (A0.908983). Arnes Jul är en melodisk julsång som berättar om hur Arne Alligator firar jul. Noterna är skrivna i G dur, dvs sänkt från orginalet som är A. Så här är den lättare för barn att sjunga. Lägsta tonen är G och högsta B.

Harp - Level 3 - Digital Download SKU: A0.928332 By Patsy Cline. By Willie Nelson. Arranged by Karen Peterson. Country. Score. 3 pages. Karen Peterson #5993773. Published by Karen Peterson (A0.928332). WATCH THE Bb VERSION: You are viewing the arrangement for lap harp, which is in the key of F. To hear the Bb version played on a larger harp, go to https://www.youtube.com/watch?v=s8WfrwixqGkOverview: This Countrypolitan song made famous by Patsy Cline was written by a not-yet-famous Willie Nelson. The attitude of the protagonist has been described as variously bemused, bittersweet, and cathartic. What is it to you, and how can you bring that emotion into your playing?My double-strung arrangement sets accidentals in the LH prior to playing, allowing the song to proceed without lever flips. The optional lever flip at the very end can be easily eliminated, making this song a great opportunity to practice flipping on the right with an easy recovery if you can’t get it in time.Key and range: F major (one flat). 21x2 strings. G below middle C through F. Preset F#, G#, B natural, and C#. (LARGER HARPS: For harps with C below middle C or lower, get the Bb version here: www.sheetmusicplus.com/title/crazy-patsy-cline-for-double-strung-harp-digital-sheet-music/21815694)Lever changes: One optional lever change on the right. Set four accidentals on the left before playing.Good for: Parties, performance.Double-strung effects: Preset accidentals on the left allow for jazzy chords without lever flips. If you’ve been hesitant about moving your LH into the melody area, this is your chance to learn. You can gently move out of your comfort zone by only switching hands for these accidentals, or you can take it a step further with optional echoed notes and an optional RH lever flip.Characteristics: The LH and RH usually play together, but with several held notes and a melody that doesn’t always strike on the downbeat, the hands play separately at least 25% of the time. There are a few instances that call for wider than an octave spread. Most chords are LH 1-5-8, 1-5-7, or 1-3-5-8. The RH has almost no chords. There are very few sixteenth notes. The most complicated placements are in the introduction with one slide and one cross-over.Finger placement: Finger number suggestions are provided for key phrases with bolded L/R for levered accidentals. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff).Notation: Chord symbols are provided; lyrics are included separately. Treble clef used in both staves.Length: 2 pages. 40 measures. 2:30 minutes.Page turns: None if you print.

Small Ensemble Fiddle,Guitar,Hand Percussion,Multi-Percussion - Level 2 - Digital Download SKU: A0.987021 Composed by Thanh Tùng. Arranged by �ỗ Bảo. Folk,Pop,World. Score and parts. 3 pages. NEWAGE MEDIA #1988949. Published by NEWAGE MEDIA (A0.987021). Một sáng tác năm 2008 của nhạc sĩ Thanh Tùng, được cho là sáng tác cuối cùng trong sự nghiệp của ông. Bài hát do �ỗ Bảo hòa âm cho đàn guitar điện, nhị (erhu), và trống (percussion), trong liveshow Một Mình năm 2008 của nhạc sĩ Thanh Tùng, Trích: http://www.tienphong.vn/van-nghe/chuyen-co-thanh-tung-982699.tpo Sáng tác cuối cùng của Thanh Tùng được cho là bài Chuyện cổ Nghi Tàm - một bài hát có ca từ không giống chất Thanh Tùng như thư�ng thấy. Giai điệu nghe rất xẩm Bắc bộ. Những mũ rơm th�i sơ tán, Xuân �ỉnh, Xuân La với mùi ổi găng, mùi hoa hoàng lan giữa nắng rát mặt và mưa bom trên đầu. Những bỡ ngỡ của cậu trai trẻ mi�n Nam lần đầu tiên bước chân ra vùng đất lạ thể hiện qua ca từ ngồ ngộ: Củ hành là nhà Trung �, mái bằng là nhà Liên Xô. Có lẽ trải qua những yêu đương và vô vàn trải nghiệm, ký ức th�i mộc mạc trỗi dậy ở tuổi xế chi�u. Dù vậy, trong xứ Nghi Tàm xa xưa ấy, vẫn có tuổi hồng dành cho nhau. Nghe kể lại, th�i Nghi Tàm, cùng lứa tập kết ra Bắc với Thanh Tùng có nhi�u bạn bè thân làm quan to cấp trung ương. Do đó, Chuyện cổ Nghi Tàm có khi như một l�i nhắc tới bạn bè: �ồ rằng anh quên hết nên tôi kể chuyện ngày xưa.

C Instrument - Level 2 - Digital Download SKU: A0.1462968 By Duong Minh Duc. By Duong Minh Duc. Arranged by Duong Minh Duc. 21st Century,Pop. Lead Sheet / Fake Book. 2 pages. Duong Minh Duc #1041697. Published by Duong Minh Duc (A0.1462968). Có ng??i tình yêu nh? ác m?ng, vùi chôn trong th?t v?ng, ni?m tin v? tanCó ng??i tình yêu nh? ?óa h?ng d?u dàng trong n?ng vàng, ng?t ngào khoe s?c h??ngHai th? gi?i ng??c xuôi l?i ?i v?, l?ng im nh?ng con ???ng cùng ai chung b??cL?i anh h?a hôm qua, l?i gian d?i th?t thà, làm sao ?? quên ?ivì hai trái tim trót yêu m?t ng??i Chào anh nhé gi? em ph?i ?i r?i, ??i ?âu nh? mong ??i, chuy?n tình chia ?ôiBi?t s? nh?, bi?t s? ?au, v?t th??ng này s? r?t sâuChào anh nhé gi? em ph?i ?i r?i, gi?c say này mình anh thôiGi?u n??c m?t, gi?u ni?m riêng ??n vô cùng n?i ?áy timChào anh nhé gi? em ph?i ?i r?i, góc vô hình mình em thôiChào anh nhé gi? em ph?i ?i r?i, cu?i con ???ng m?t bàn tay ?ang ch? em.

Choral SATB Chorus - Digital Download SKU: H1.C5394DP Composed by George Frideric Handel. Arranged by Hal H. Hopson. Piano Accompaniment. Classics, Easter Sunday, Adoration & Praise. Octavo. 12 pages. Hope Publishing - Digital #C5394DP. Published by Hope Publishing - Digital (H1.C5394DP). By Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel. 1 Corinthians 15:54 - 1 Corinthians 15:55 - 1 Corinthians 15:56 - 1 Corinthians 15:57 - Acts 3:15 - Hebrews 2:9 - John 14:2 - John 14:3 - John 20:19 - Luke 24:1 - Luke 24:2 - Luke 24:3 - Luke 24:4 - Luke 24:5 - Luke 24:6 - Luke 24:7 .Classic hymn by Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel Two G. F. Handel works, the classic hymn tune based on Judas Maccabeus and the Chandos Anthem No. 6, With a Voice of Praise, have been combined by Hal Hopson to produce an invigorating Easter anthem in an exuberant, baroque style.

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.

Easy Piano - Level 5 - Digital Download SKU: A0.1038261 By Châu Gia Chuyển. By Châu Gia Chuyển. Film/TV,Multicultural,Pop,Romantic Period,Standards,World. Score. 1 pages. Châu Gia Chuyển #643196. Published by Châu Gia Chuyển (A0.1038261). �ã Quên Câu Th� Sáng Tác : Châu Gia Chuyển Trình Bày : Châu Gia Chuyển Ambul : �ã Quên Câu Th� - Phát hành 2022 Gửi em ngư�i con gái ở phương tr�i xa Ngư�i mà anh thầm thương trộm nhớ Ngư�i cùng anh chia sớt ng�t bùi L�i yêu thương trái tim nồng nàn đắm say Gửi em ngư�i con gái cho anh ni�m vui Ngư�i cùng anh hẹn hò sớm tối Cùng bên anh đi hết cuộc đ�i L�i hẹn th� trăng sao chứng minh tình ta Ngư�i yêu ơi em đang ở đâu Ngư�i hứa yêu thương đến bạc đầu Mà gi� đây đôi ta mỗi ngư�i một lối Có ai tìm ai Phải chăng em đang bên cạnh ai Khi dòng tin trôi mãi vô tình Ngư�i nỡ quên đi câu hẹn th� ngày ấy �ắp vun tình ta Vậy đành quên nhau đi ngư�i ơi L�i hứa thương yêu suốt cuộc đ�i �ừng xem yêu như là trò chơi trẻ con Không yêu thì thôi Tạm biệt em em đi đư�ng em Em cứ yêu chơi trên mạng đi Rồi v� sau không ai yêu em nhi�u nữa �ừng trách chi đ�i.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.918178 Composed by Christy L'Esperance. Christian,Contemporary,Sacred,Wedding. Score. 7 pages. Christy L'Esperance #6612075. Published by Christy L'Esperance (A0.918178). Song of Seikolos is the oldest surviving complete composition, dating to ancient (200BC) Greece. The melody of Song of Seikolos is used as a framework for this setting of Psalm 148:1-2, 3-4, 9-10, 11-13a, 13c-14a. Appropriate for Catholic wedding ceremonies as well as other sacred celebrations, this purchase includes the piece in a key suited for higher voices (G mixolydian) as well as a transposition down a fourth for lower voices.Text: Psalm 148:1-2, 3-4, 9-10, 11-13a, 13c-14aR. (13a) Let all praise the name of the Lord.Praise the Lord from the heavens,praise him in the heights;Praise him, all you his angels,praise him, all you his hosts.R. Let all praise the name of the Lord.Praise him, sun and moon;praise him, all you shining stars.Praise him, you highest heavens,and you waters above the heavens.R. Let all praise the name of the Lord.Mountains and all hills,fruit trees and all cedars;beasts, both wild and tame,creeping things and birds on the wing.R. Let all praise the name of the Lord.Kings of the earth and all peoples,princes and all judges of the earth,young men and maidens as well,the old and the young together.Let them praise the name of the Lord,for his name alone is exalted.R. Let all praise the name of the Lord.His splendor above earth and heaven.He exalts the strength of his people.R. Let all praise the name of the Lord.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.700731 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 111 pages. Kevin G. Pace #550619. Published by Kevin G. Pace (A0.700731). The Savior - A Cantata of original choral music celebrating the premortal, mortal, and postmortal life of Jesus Christ is a work for SATB choir with piano accompaniment and some short narration. Music by Kevin G. Pace. Text by Mark R. Fotheringham and Kevin G. Pace. Additional text by Kim L. Jensen, Bergeta Williams, & Charles Wesley. This entire Cantata can be performed as a program lasting approximately 65 minutes. Or each of the 15 songs can be performed as separate pieces of music. 106 pages. 15 pieces of music.

Marimba Solo - Level 1 - Digital Download SKU: A0.1365155 Composed by Béla Ugró. 21st Century,Children,Classical,Multicultural,Traditional,World. Individual part. 45 pages. Bela Ugro #949463. Published by Bela Ugro (A0.1365155). Embark on a melodic journey with Happy Mallets - Songs and Song Arrangements for 4.1/3 Octave Marimba, a delightful collection crafted by the talented composer Béla Ugró. This sheet music compilation offers a diverse array of tunes, spanning from traditional melodies to original compositions, each carefully arranged for the enchanting tones of the 4.1/3 Octave Marimba with a total of 45 pages.Content: have you ever seen this (gyakorlat) where are you going, little kid? (hová mégy te kisnyulacska?) the candle is burning (ég a gyetya ég) even they say (még azt mondják) oops juliska (hopp juliska) cickom, cickom (cickom, cickom) little kece daughter (kis kece lányom) hey tulips, tulips (hej tulipán, tulipán) i picked flowers from the garden (kertbe virágot szedtem) there’s a catfish in the water (harcsa van a vízbe) dance (tánc) lacrimosa yellow corn fiber (sárga kukoricaszál) spring wind (tavaszi szél) three songs (három dal): it blows from above (felülről fúj), my sweet friend (kincsem komámasszony) i am not (nem vagyok én) noveletta flea market (bolhapiac) argentine summer shower (nyári zápor) greeting (köszöntő) the citrus tree (a citrusfa) dance house (táncház) nights in kapolcs (kapolcsi éjszakák) farewell (búcsú) bamby rome (róma) Béla Ugró's intricate arrangements bring these melodies to life, providing marimba enthusiasts with a captivating repertoire that spans various genres and cultural influences. Happy Mallets is not just sheet music; it's an invitation to explore the diverse sounds and emotions encapsulated within each composition.Happy Mallets - Songs and Song Arrangements for 4.1/3 Octave Marimba invites young learners and educators to dive into the fascinating world of percussion, where each piece becomes a stepping stone in their musical education. With its engaging compositions, this sheet music promises an enjoyable and educational experience for aspiring percussionists of all ages.Keywords:Marimba Sheet MusicBéla Ugró Compositions4.1/3 Octave Marimba SolosMelodic Marimba ArrangementsPercussion Ensemble PiecesDiverse Cultural MelodiesEducational Marimba MusicOriginal Sheet Music CollectionEnchanting Melodies for MarimbaBéla Ugró Happy Mallets.

Choral SATB choir with optional brass, timpani & congregation - Digital Download SKU: H1.C5873DP Composed by George Frideric Handel. Arranged by Paul Leddington Wright. Piano with Optional Brass, Timpani & Congregation. Hymn Concertato Series. Hymntune, Easter Sunday. Octavo. 8 pages. Hope Publishing - Digital #C5873DP. Published by Hope Publishing - Digital (H1.C5873DP). By Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel. Isaiah 25:8 - Matthew 28:1 - Matthew 28:2 - Matthew 28:3 - Matthew 28:4 - Matthew 28:5 - Matthew 28:6 - Matthew 28:7 - Matthew 28:8 - Matthew 28:9 - Matthew 28:10 - Matthew 28:16 - Matthew 28:17 - Mark 16:1 - M.Festival hymn by Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel This latest addition to our new Concertato Series is a festival hymn setting perfect for the Easter season. Arranger, Paul Leddington Wright, has crafted a majestic setting of the Handel tune for SATB choir with Organ, optional Brass, Timpani and Congregation. This stunning arrangement brings out the wonderfully accessible harmonic possibilities in this time honored hymn. The Brass packet includes a Conductor's Score and parts for: Trumpet 1, Trumpet 2, Horn in F, Trombone, Tuba, Timpani, and Percussion.

Choral SATB choir with optional organ & brass (organ, trombone, trumpet) - Digital Download SKU: H1.C6076DP Arranged by Mary McDonald. Piano with Optional Organ & Brass. Easter Sunday. Octavo. 12 pages. Hope Publishing - Digital #C6076DP. Published by Hope Publishing - Digital (H1.C6076DP). By Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel.Classic Easter hymn by Edmund L. Budry, tr. R. Birch Hoyle & G.F. Handel This classic Easter hymn is given a dynamic treatment for four-part choir with optional brass quintet. The text is sprinkled with biblical illusions from I Corinthians 15: O death, where is your victory? O death, where is your sting, and from Romans: we are more than conquerors through him who loved us, making it an ideal choice for Resurrection Sunday.