Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.813829 Composed by Antonin Dvorak. Arranged by Regis Bookshar. Contemporary,Folk,Romantic Period,Standards. 18 pages. Regis Bookshar #6533919. Published by Regis Bookshar (A0.813829). Largo (from Symphony No. 9 in E minor) (From the New World) (Db) (Flute Quintet) - Intermediate - Digital Download. This marvelous arrangement of the Largo, based on the second movement of Antonin Dvorak's Symphony No. 9 in E minor, would be a fabulous addition to any music library and could be performed for concerts, recitals and church services, especially Funerals, but would be appropriate any time during the church year. This arrangement is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (18 pages). This selection is one of the many arrangements from the The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Symphony No. 9 in E minor, Op. 95 (subtitled From the New World and popularly know as the New World Symphony), was composed by Antonin Dvorak in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It premiered at Carnegie Hall in New York City on December 16, 1893 and has been described as one of the most popular of all symphonies. The second movement of the symphony, upon which this arrangement is based, is marked Largo, and begins with a harmonic progression of chords which is then followed by a solo instrument playing the famous main theme.Dvorak was interested in Native American music and the African-American spirituals he heard in North America. While director of the National Conservatory he encountered an African-American student, Harry T. Burleigh, who sang traditional spirituals to him. Burleigh, later a composer himself, said that Dvorak had absorbed their spirit before writing his own melodies. Dvorak stated:    I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition to be developed in the United States. These beautiful and varied themes are the product of the soil. They are folk songs of America and your composers must turn to them.He further explained how Native American music influenced his symphony:  I have not actually used any of these (Native American) melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.In 1893, a newspaper interview quoted Dvorak as saying, I found that the music of the negroes and of the Indians was practically identical, and that the music of the two races bore a remarkable similarity to the music of Scotland. Most historians agree that Dvorak is referring to the pentatonic scale, which is typical of each of these musical traditions.Dvorak was influenced not only by music he heard, but also by what he had seen, in America. He wrote that he would not have composed his American pieces as he had if he had not seen America. It has been said that Dvorak was inspired by the wide open spaces of America, such as the prairies he may have seen on his trip to Iowa in the summer of 1893. Notices about several performances of the symphony include the phrase wide open spaces about what inspired the symphony and/or about the feelings it conveys to listeners.The theme from the Largo was adapted into the spiritual Goin' Home (often mistakenly considered a folk song or traditional spiritual) by Dvorak's pupil, William Arms Fisher, who wrote the lyrics in 1922. Regis Bookshar thought it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to this version for a Flute Quintet, he has made quite a few other arrangements of this selection which are readily available for a wide variety of instrumental.

Flute,Piano - Level 3 - Digital Download SKU: A0.748672 Composed by Erik Satie. Arranged by Mark Reeves. 20th Century,Concert,Film/TV,Wedding,World. Score and part. 5 pages. Mark Reeves #3022545. Published by Mark Reeves (A0.748672). Erik Satie's Gymnopedies were written for piano solo but lend themselves perfectly to being played by other musical instruments too. Indeed, Claude Debussy arranged the first and third Gymnopedies for orchestra. This arrangement for flute with piano accompaniment would fit nicely into a school concert programme and is also perfect for wedding ceremonies. Performance time is approximately two and a half minutes. Breath marks are not indicated, as the long phrases should be played in one breath if possible. A separate part is supplied for the soloist. The composer's original autographed manuscripts have been used as the initial source material, along with the very first printed editions published in 1888 and 1895. Obvious errors in these first editions have been corrected and Satie's unconventional preference for distributing the notes of chords across both staves has been ignored in favour of grouping the notes together to facilitate chord recognition and performance. More arrangements by Mark Reeves: www.sheetmusicplus.com/publishers/Mark-Reeves/1850 Facebook: www.facebook.com/MarkReevesPianist Twitter: https://twitter.com/MarkReeves001 Website: www.markreeves.co.uk Email: info@markreeves.co.uk

French Horn,Piano - Level 3 - Digital Download SKU: A0.1300091 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. Score and part. 5 pages. RayThompsonMusic #889847. Published by RayThompsonMusic (A0.1300091). Satie: Gymnopédie No. 1 arranged horn in F and pianoProbably Erik Satie's best known work, written originally for piano.This piece has been arranged many times on this site and elsewhere for varying instruments.In other arrangements the solo instrument takes the melody all the way through.My arrangement differs in that, for the 2nd verse the melody is shared between the horn and piano, and played together at the end.This I feel gives interest and variation to the piece. I have transposed it into F from the original D....this puts the horn in a better range. I have also suggested some muting (both hand and actual mute) to add to the atmosphere of the piece.Check out my other Satie arrangements.

Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company.   At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc.   At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process.   The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral.   In the premiere, the Robinson Ballet will dance in the orchestral movements.  The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man.   It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor.   God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.

Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Oboe,Piano - Level 3 - Digital Download SKU: A0.1299519 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. Score and part. 5 pages. RayThompsonMusic #889393. Published by RayThompsonMusic (A0.1299519). Satie: Gymnopédie No. 1 Arranged oboe amd piano Probably Erik Satie's best known work, written originally for piano.This piece has been arranged many times on this site and elsewhere for varying instruments.In other arrangements the solo instrument takes the melody all the way through.My arrangement differs in that, for the 2nd verse the melody is shared between the oboe and piano, and played together at the end.This I feel gives interest and variation to the piece.Check out my other Satie arrangements.

Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.979627 Composed by Roger Aldridge. Contemporary,Jazz,World. Score and parts. 11 pages. Roger Aldridge #119381. Published by Roger Aldridge (A0.979627). New Tango No. 1: Movement (for jazz soloist, 5 wind instruments, and rhythm section) is an abstract piece. Inspired by the tango, it invokes dance movement as well as explores movement in and out of time in the music. The soloist's part is entirely improvised. The rhythm section goes between time and free-time. The soloist cues the rhythm section on when to make time and harmonic changes. The background ensemble is in free-time with each note conducted. During solos the background ensemble can improvise interactions with the soloist. This piece is highly dependent upon the soloist and ensemble to bring the music to life and take the audience on a journey. Space and understatement are important features of this music. The open, floating free-time melody and the space between its phrases enable the rhythm section to have a prominent role in playing layers of lines, textures, and colors. Using accordion and guitar (along with piano, bass, and drums) is highly recommended. A string instrument(s) such as violin or cello can improvise additional layers with the rhythm section. One of my essential concepts in this piece is for the ensemble to have the sound of a tango band (as closely as possible); however, the music has a great amount of freedom. The score was originally conceived for woodwind quintet (with alto flute). Alternate parts are provided for an assortment of commonly-used wind instruments. In this way, the piece can be performed by various combinations of instruments. As another possibility, two (or more) musicians can be used on each wind instrument part. This option of having doubled parts -- with either same or different instruments on a part -- is an easy way for larger ensembles to perform this music. PARTS: The set of parts is available at NEW TANGO NO. 1: MOVEMENT PARTS (S0.84827). CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 5:00 YEAR OF RELEASE: 2011 PERFORMANCE: The score is concert pitch and uses flexible instrumentation. ENSEMBLE CONCEPTS: http://www.rogeraldridge.com/mid-size-ensemble.html.

Instrumental Solo,Piano,Tenor Voice - Level 4 - Digital Download SKU: A0.975732 Composed by Antonin Dvorak. Arranged by Piacere Music Sheets. Classical,Instructional,Romantic Period,Standards. Score and individual part. 9 pages. Piacere Music Sheets #581421. Published by Piacere Music Sheets (A0.975732). Opus/Catalog Number: Op. 55, No. 4 Key/Tone: D Major Movements/Sections: Andante con moto Year/Date of Composition: 1880 Vocal range: Tenor F4 to G5 Difficulty: Grade 9/12 (Advanced) Obs.: This song Als die alte Mutter [Songs My Mother Taught Me] is the fourth of seven songs in Dvorak's Zigeunermelodien, Op. 55. It is also the most popular song in the entire cycle. It has the following musical structure : Prelude : measures 1 to 8 Stanza 1 : measures 9 to 24 Interlude : measures 23 to 28 Stanza 2 : measures 29 to 46 Postlude : measures 45 to 50 This song features an unusual rhythmical structure : the vocal line is written in 2/4 time, while the piano accompaniment is in 6/8 time. Included: Full score and separated parts for each instrument.

Piano - Digital Download SKU: A0.1071368 Arranged by Chris Cooke. Christian,Praise & Worship,Sacred. Accompaniment. Duration 4241. Chris Cooke #3004317. Published by Chris Cooke (A0.1071368). This book is a recording of the printed piano accompaniment book in this series. Besides accompanying solo or duet instruments, these recordings may also be used for group singing. There is a short introduction, and enough repeats of the verses in case you would like to play or sing them all! While these recordings contain multiple verses, the print version (also available on Sheet Music Plus) contains only one verse with no introduction. All hymns are in a good vocal range except Christ the Lord is Risen Today which is in F to accommodate a more accessible playing range. The only hymn not included in this recording (that occurs in the print book) is Great is Thy Faithfulness, since I only have print publication rights to this piece. This is one large file, containing all 34 accompaniments. For this  reason, I have notated the cue point, i.e. the time in the recording when each hymn occurs so they can be located more easily within this one-hour and 10-minute recording. For instance, the second hymn would be found at the 2-minute and 17-second time point. The full list of hymns, with their concert keys, cue points, and length of the introduction, is below: Abide with Me, C; 4-measure intro All Hail the Power of Jesus’ Name, E-flat; cue point: 0:2:17; 4-measure intro Am I A Soldier of the Cross; E-flat; cue point: 0:4:18; 4-measure intro Amazing Grace, E-flat; cue point: 0:5:33; 4-measure intro Blessed Assurance, B-flat; cue point: 0:8:11; 2-measure intro Blest Be the Tie That Binds, E-flat; cue point 0:10:19; 3-measure intro Christ the Lord is Risen Today, F; cue point: 0:12:12; 2-measure intro Come Thou Almighty King, E-flat; cue point: 0:14:36; 4-measure intro Come Thou Fount of Ev’ry Blessing, B-flat; cue point: 0:16:21;4-measure intro Count Your blessings, B-flat; cue point: 0:18:01; 4-measure intro Crown Him With Many Crowns, B-flat; cue point: 0:20:36; 4-measure intro Doxology, E-flat; cue point: 0:22:55; 4-measure intro For the Beauty of the Earth, C; cue point: 0:23:14; 4-measure intro God of Grace and God of Glory, F; cue point: 0:25:49; 2-measure intro Holy, Holy, Holy, B-flat; cue point: 0:27:39; 4-measure intro I Surrender All, C; cue point: 0:30:34; 2-measure intro In Christ There is No East or West, B-flat; cue point: 0:33:26;2-measure intro It is Well with My Soul, B-flat; cue point: 0:35:33; 3-measure intro Jesus Loves Me, B-flat; cue point: 0:36:50; 4-measure intro Jesus the Very Thought of Thee, F; cue point: 0:39:08; 2.75 measure intro Joyful, Joyful, We Adore Thee, C; cue point: 0:40:35; 4-measure intro Love Divine, All Loves Excelling, E-flat; cue point: 0:43:11; 4-measure intro My Country Tis of Thee, E-flat; cue point: 0:45:51; 4-measure intro O Sacred Head, Now Wounded, E-minor; cue point: 0:47:45; 4-measure intro O For A Thousand Tongues to Sing, F; cue point: 0:49:58; 4-measure intro Oh God, Our Help in Ages Past, B-flat; cue point: 0:51:00; 4-measure intro Onward Christian Soldiers, B-flat; cue point: 0:52:46; 4-measure intro Praise Him, Praise Him All Ye Little Children, B-flat; cue point:0:56:08; 4-measure intro Praise to the Lord, the Almighty, E-flat; cue point: 0:57:07; 4-measure intro Sweet Hour of Prayer, B-flat; cue point: 0:59:12; 4-measure intro Take My Life and Let It Be, E-flat; cue point: 1:02:22; 8-measure intro The Battle Hymn of the Republic, B-flat; cue point: 1:04:15; 2-measure intro What a Friend We Have in Jesus, C; cue point: 1:06:33; 4-measure intro Whisper a Prayer, E-flat; cue point: 1:09:12; 4-measure intro

Piano Solo - Level 1 - Digital Download SKU: A0.1504777 By Erik Satie. By Erik Satie. Arranged by Caracol Tracks. Classical. Score. 8 pages. Caracol Tracks #1080198. Published by Caracol Tracks (A0.1504777). Gymnopédie No. 1 - Easy Piano Step into the serene and meditative world of Erik Satie’s Gymnopédie No. 1 with this simplified arrangement for easy piano. Known for its calm, flowing melody and gentle rhythms, this iconic piece is perfect for beginner and intermediate pianists looking to explore classical music. The easy piano version preserves the timeless beauty and tranquility of the original while making it accessible for those with basic piano skills. Ideal for recitals, personal enjoyment, or expanding your repertoire, this piece will captivate listeners with its peaceful, dreamlike atmosphere.Genre: Classical, Minimalism, Easy PianoDifficulty Level: Beginner, IntermediateInstrument: Piano, KeyboardComposer: Erik SatieKeywords: Easy piano sheet music, Classical piano, Gymnopédie

Easy Piano - Level 1 - Digital Download SKU: A0.1504778 By Erik Satie. By Erik Satie. Arranged by Caracol Tracks. Classical. Score. 8 pages. Caracol Tracks #1080200. Published by Caracol Tracks (A0.1504778). Gymnopédie No. 1 - Easy Piano w Note NamesStep into the serene and meditative world of Erik Satie’s Gymnopédie No. 1 with this simplified arrangement for easy piano. Known for its calm, flowing melody and gentle rhythms, this iconic piece is perfect for beginner and intermediate pianists looking to explore classical music. The easy piano version preserves the timeless beauty and tranquility of the original while making it accessible for those with basic piano skills. Ideal for recitals, personal enjoyment, or expanding your repertoire, this piece will captivate listeners with its peaceful, dreamlike atmosphere.With pitch names on note heads for ease of sight reading! Suitable for beginners.Genre: Classical, Minimalism, Easy PianoDifficulty Level: Beginner, IntermediateInstrument: Piano, KeyboardComposer: Erik SatieKeywords: Easy piano sheet music, Classical piano, Gymnopédie.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1112657 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Christian,Classical,Religious,Sacred. 10 pages. RayThompsonMusic #714667. Published by RayThompsonMusic (A0.1112657). Arranged standard brass quintet Section III of the requiem is titled “Sequenz� (sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa I have also arranged Mozarts Motet “Ave Verum Corpus� K618 for varying types of instrumentation. Mvt.3 Rex tremundae summary A descending melody composed of dotted notes is played by to announce the Rex tremendae majestatis (King of tremendous majesty, i.e., God), who is called by powerful cries on the syllable Rex during the pauses. For a surprising effect, the Rex syllables fall on the second beats of the measures, even though this is the weak beat. The melodies adoptthe dotted rhythm, forming what Wolff calls baroque music's form of topos of the homage to the sovereign,or, more simply put, that this musical style is a standard form of salute to royalty, or, in this case, divinity. This movement consists of only 22 measures, but this short stretch is rich in variation: homophonic writing and contrapuntal passages alternate many times and finish on a quasi-unaccompanied choral cadence, landing on an open D chord (as seen previously in the Kyrie). Excellent fun for eery player.