Piano Solo - Digital Download

SKU: A0.818267

By Stephen R Dalrymple. By George C Stebbins and Ellen L Goreh. Arranged by Stephen R Dalrymple. Sacred. Score. 9 pages. Stephen R Dalrymple #3884109. Published by Stephen R Dalrymple (A0.818267).

♫ piano solo arrangement of a public domain hymn 
♫lyrics by Ellen L Goreh 1853-1937 
♫ melody by George C Stebbins 1846-1945
♫ The author of the text was a native of India. She spent many years in mission work among the women of India, held in high esteem by missionaries of all denominations. Ira D Sankey writes “The hymn was first sung by [George Steb­bins] as an offertory in one of the churches in Brooklyn, New York. It was often repeated as an offertory, and on occasions was sung in evangelistic services. But it had its larger introduction to the public during the All-Winter Mission conducted by Mr. Moody and myself in London in the winter of 1883–84, when I sang it frequently, as did Mr. Stebbins, who spent several months assisting in the mission.� The hymn spread all over the world. Hudson Taylor reported that it was a favorite of the missionaries in China.
♫ piano arrangement by Stephen R Dalrymple
♫ performed by the arranger
♫ music © 1999 (copyright registered in 'Great God of Wonders: Sacred Piano Arrangements' © 1999 Stephen R. Dalrymple)
♫ recording ℗ 2023 Stephen R Dalrymple 
♫ presentation © 2023 Stephen R Dalrymple 
♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet
♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.).

Woodwind quintet - Digital Download

SKU: IZ.CMW183

Composed by Septimus Winner. Arranged by Judith Katz. Score and Parts. 17 pages. Imagine Music - Digital #CMW183. Published by Imagine Music - Digital (IZ.CMW183).

9 x 12 in inches.

In my search for American composers who were active in the mid to latter part of the 19th Century, I've recently discovered the name, Septimus Winner.

Winner, (1827-1902) was a Philadelphia-based song writer and publisher, credited with over 200 method books for a wide variety of instruments, as well as 1500 easy arrangements, and 2000 arrangements specifically for violin and piano. He teamed up with his brother to publish music, and he, himself, had numerous publications both under his own name, and pseudo names: Alice Hawthorne, Percy Guyer, Mark Mason, Apsley Street, and Paul Stenton.

Some of his compositions have become classics, and helped to seal his fame as a major song writer of the pre, Tin Pan Alley era. He was inducted into the Songwriters Hall of Fame in 1970. Among his most famous compositions are: Listen to The Mockingbird, published under the name of Alice Hawthorne, Oh Where, Oh Where Has My Little Dog Gone, and Ten Little Indians, which was performed a lot in Europe, and later used as an inspiration for Agatha Christie for her book of the same name; sometimes referred to And Then There Were None.

Silver Wedding March was originally written for parlor piano, which ends itself beautifully to small instrumental ensemble combinations. I chose woodwind quintet.

Piano,Trumpet - Level 5 - Digital Download

SKU: A0.1028166

Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166).

Concerto for Trumpet and Orchestra
Composer: Graeme Culpepper
Year: 2022
 
 Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times.

 Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022

Purchase includes Full Score + Solo Trumpet Part.