Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.859089 Composed by Traditional. Arranged by Stephen Bulat. Celtic,Country,Folk,Holiday,Traditional. Score and parts. 3 pages. Stephen Bulat Publishing #6322417. Published by Stephen Bulat Publishing (A0.859089). There are many different variations of this old time traditional song, this melody which is one of the more popular. This old standard American fiddle tune, was apparently named after American dancer, John Durang (1768-1821) and supposedly composed for him in 1785.  It is a popular tune played amongst bluegrass, old time and Celtic fiddlers.An old time, Celtic, Irish, bluegrass, Americana and fiddler songbook must-have, this arrangement has been gig-tested and has a very easy to follow roadmap with all essential music notes, musical cues and rehearsal markings throughout. Arrangement is in lead sheet format (melody, lyrics & chords) with the layout in a larger style font than lead sheets in a typical fakebook. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (violin, flute, singer)The perfect addition to the working musician's gig book. Please click on the publisher to view this song in other keys as well as to purchase it in the Celtic & Fiddle Fake Book.SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289Online: http://stephenbulat.com

Jazz Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Drum Set,Piano and Keyboard,Tenor Saxophone,Trombone,Trumpet - Interactive Download SKU: A0.481588 By Sergio Mendes. By Jorge Ben. Arranged by Adam C. Berry. This edition: Interactive Download. Jazz,Latin. Score and parts. 57 pages. Duration 211. Published by AB Music Publishing (A0.481588). Grade 3-3.5 Jazz Ensemble. Arranged in the style of the piece's original composer, Jorge Ben Jor, this medium-advanced level rendition of Mas Que Nada features different soli combinations of tenor sax and trombone to capture the vocal qualities of the melody before the whole ensemble chimes in. The piece uses LATIN SAMBA and SWING interchangeably to add rhythmic variety (look for system text call-outs for SAMBA and SWING). In addition to the sectional features previously described, this chart features solos for trumpet, alto sax, and drums. Auxiliary percussion usage, such as African/Latin drums and/or shakers, is encouraged. CONDUCTORS NOTE: The trombone pitch bends in measures 16 and 24 are supposed to be DOWN 1/2 STEP, not UP. There is apparently an error in Noteflight that does not display this correctly. I have not had luck figuring the issue out.

Level 5 - Digital Download SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio at the Post (A0.1125661). Score only (see A725501 for Parts). Duration: 22 – 24 minutes, 217 pp. reduced to 108 pp. Description: Each of the Serape�s has a programmatic subtitle that gives the listener a hint as to how to listen. Serape�s Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. Serape� No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. Serape� No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal Serape� No. 5, L.A. Smog, is rude. This Serape� starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, Serape� No. 6 is the most peaceful and static Serape�. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.

Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1317480 Composed by John Philip Sousa. Arranged by Matthew Nunes. Chamber,Classical,Historic,March,Patriotic. 28 pages. Matthew Nunes Music #906146. Published by Matthew Nunes Music (A0.1317480). Dedicated to Secretary of State John Milton Hay, The Diplomat was apparently composed over one of the best tenderloin steaks Sousa ever had. It is one of a few Sousa marches where, with the right emphasis, a different character jumps off the page. It is also highly nuanced, for example the added hits in the repeat of the Final Strain. Special interest may be directed to the tuba part, which is incredibly active throughout. This Brass Quintet arrangement was made using “The President’s Own� United States Marine Band’s The Complete Marches of John Philip Sousa score as found at https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/. The Diplomat was composed in 1904, and the referenced edition was made Public Domain in 2018. The piece is catalogued as Volume 4, No. 63.

Piano Solo - Level 3 - Digital Download SKU: A0.1013238 Composed by Rudesindo Soutelo. 20th Century,Concert,Contemporary,Standards. Score. 10 pages. Publisher by Rudesindo Soutelo #6190739. Published by Publisher by Rudesindo Soutelo (A0.1013238). The fragmentary spirit of postmodernism permeates these sequences in a collage mode where different techniques and textures are combined, apparently unconnected. Thus, the generating complex [5,9,4,8,3,6] interacts with intuitive elements and literal quotations from other authors.

Level 5 - Digital Download SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at the Post (A0.1124743). Parts only (see A725494 for Score). Duration: 22 – 24 minutes, Six Parts between 12 – 16 pp. Description: Each of the Serape�s has a programmatic subtitle that gives the listener a hint as to how to listen. Serape�s Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. Serape� No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. Serape� No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal Serape� No. 5, L.A. Smog, is rude. This Serape� starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, Serape� No. 6 is the most peaceful and static Serape�. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.859088 Composed by Traditional. Arranged by Stephen Bulat. Celtic,Country,Folk,Holiday,Traditional. Score and parts. 3 pages. Stephen Bulat Publishing #6322415. Published by Stephen Bulat Publishing (A0.859088). There are many different variations of this old time traditional song, this melody which is one of the more popular. This old standard American fiddle tune, was apparently named after American dancer, John Durang (1768-1821) and supposedly composed for him in 1785.  It is a popular tune played amongst bluegrass, old time and Celtic fiddlers.An old time, Celtic, Irish, bluegrass, Americana and fiddler songbook must-have, this arrangement has been gig-tested and has a very easy to follow roadmap with all essential music notes, musical cues and rehearsal markings throughout. Arrangement is in lead sheet format (melody, lyrics & chords) with the layout in a larger style font than lead sheets in a typical fakebook. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (violin, flute, singer)The perfect addition to the working musician's gig book. Please click on the publisher to view this song in other keys as well as to purchase it in the Celtic & Fiddle Fake Book.SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289Online: http://stephenbulat.com

Piano,Vocal,Voice - Digital Download SKU: A0.828745 Composed by Gregorian. Arranged by Guido Menestrina. Classical,Sacred. Score. 4 pages. Guido Menestrina #2054233. Published by Guido Menestrina (A0.828745). Transcription by Guido Menestrina. Gregorian sequentia from the 13th century, Attributed to Albert the Great, but is apparently the work of another German Dominican called Peregrinus of Cologne, also known as William of Cologne. The text begins with a joyous invitation to celebrate the Ascension in song: Be glad, all ye people, and sing our festive songs, for it is the triumph of Christ! He returns to heaven, leading thither the trophies he has won; and as he ascends, the jubilant sound of the trumpet is heard. 7 is the main rhythmic pattern of the sequence, starting from the incipit of Psalm 46 (O-mnes gen-tes, plau-di-te), but then the poet freeealy weaves among different schemes, from 4 to 8 syllables, and the composer moves it forth to rhythms which would be nowadays considered 4/4 to 11/8. Follow the videoscore on youtube: https://youtu.be/4DwZhl33Ldc.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.859087 Composed by Traditional. Arranged by Stephen Bulat. Celtic,Folk,Holiday,Traditional. Score and parts. 3 pages. Stephen Bulat Publishing #6322413. Published by Stephen Bulat Publishing (A0.859087). There are many different variations of this old time traditional song, this melody which is one of the more popular. This old standard American fiddle tune, was apparently named after American dancer, John Durang (1768-1821) and supposedly composed for him in 1785.  It is a popular tune played amongst bluegrass, old time and Celtic fiddlers.An old time, Celtic, Irish, bluegrass, Americana and fiddler songbook must-have, this arrangement has been gig-tested and has a very easy to follow roadmap with all essential music notes, musical cues and rehearsal markings throughout. Arrangement is in lead sheet format (melody, lyrics & chords) with the layout in a larger style font than lead sheets in a typical fakebook. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (violin, flute, singer)The perfect addition to the working musician's gig book. Please click on the publisher to view this song in other keys as well as to purchase it in the Celtic & Fiddle Fake Book.SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289Online: http://stephenbulat.com

Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar.  â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.859091 Composed by Traditional. Arranged by Stephen Bulat. Celtic,Country,Folk,Holiday,Traditional. Score and parts. 3 pages. Stephen Bulat Publishing #6322429. Published by Stephen Bulat Publishing (A0.859091). There are many different variations of this old time traditional song, this melody which is one of the more popular. This old standard American fiddle tune, was apparently named after American dancer, John Durang (1768-1821) and supposedly composed for him in 1785.  It is a popular tune played amongst bluegrass, old time and Celtic fiddlers.An old time, Celtic, Irish, bluegrass, Americana and fiddler songbook must-have, this arrangement has been gig-tested and has a very easy to follow roadmap with all essential music notes, musical cues and rehearsal markings throughout. Arrangement is in lead sheet format (melody, lyrics & chords) with the layout in a larger style font than lead sheets in a typical fakebook. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (violin, flute, singer)The perfect addition to the working musician's gig book. Please click on the publisher to view this song in other keys as well as to purchase it in the Celtic & Fiddle Fake Book.SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289Online: http://stephenbulat.com

Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. â€˜Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.859090 Composed by Traditional. Arranged by Stephen Bulat. Celtic,Country,Folk,Holiday,Traditional. Score and parts. 3 pages. Stephen Bulat Publishing #6322427. Published by Stephen Bulat Publishing (A0.859090). There are many different variations of this old time traditional song, this melody which is one of the more popular. This old standard American fiddle tune, was apparently named after American dancer, John Durang (1768-1821) and supposedly composed for him in 1785.  It is a popular tune played amongst bluegrass, old time and Celtic fiddlers.An old time, Celtic, Irish, bluegrass, Americana and fiddler songbook must-have, this arrangement has been gig-tested and has a very easy to follow roadmap with all essential music notes, musical cues and rehearsal markings throughout. Arrangement is in lead sheet format (melody, lyrics & chords) with the layout in a larger style font than lead sheets in a typical fakebook. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (violin, flute, singer)The perfect addition to the working musician's gig book. Please click on the publisher to view this song in other keys as well as to purchase it in the Celtic & Fiddle Fake Book.SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289Online: http://stephenbulat.com

B-Flat Clarinet,Piano - Level 4 - Digital Download SKU: A0.1422826 Composed by Andrea Morricone and Ennio Morricone. Arranged by Yoshiko Uchida. 19th Century,Film/TV. Score and part. 8 pages. FOSTERMUSIC.JP Digital Publishing #1002245. Published by FOSTERMUSIC.JP Digital Publishing (A0.1422826). Introduction This is an arrangement from the Italian film New Cinema Paradise (1988), directed by Giuseppe Tornatore and with music by Ennio Morricone.Morricone, who was born and raised in Italy, is said to have fallen in love with the film's script, and the music evokes the scenery of Sicily, the film's setting. The original soundtrack also features a clarinet playing Love Theme. We hope you will give an emotional performance of this sorrowful melody.It can also be played in conjunction with Nuovo Cinema Paradiso, which is released separately.?Yoshiko Uchida?Nuovo Cinema Paradiso (Sheetmusic Direct)Nuovo Cinema Paradiso (Sheetmusic Plus) Performance advice The clarinet is an instrument that can freely change its tone to match various human emotions and the colors of the music.Each of the melodies in this piece has a different character. Play them according to the music, considering the tone and approach to the music.Think about the structure of the entire piece and make sure to express the story of the music.(Kei Ito) Arranger: Yoshiko Uchida Yoshiko Uchida is a composer from Yokosuka, Kanagawa, Japan.Graduated from Tokyo University of the Arts, Faculty of Music, Department of Composition, and completed graduate studies at the same university. After working as an assistant music director, pianist for musicals, and score composer, she is currently composing and arranging for many concerts, CDs, publications, and video works. Clarinet: Kei Ito Kei Ito is a leading clarinetist in Japan.Graduated from the Department of Instrumental Music, Faculty of Music, Tokyo University of the Arts in 2001. In 2004, he won the first prize at the 6th Japan Clarinet Competition. In 2006, she was selected for the 74th Japan Music Competition. After working with the Philharmonia of the University of the Arts and the Tokyo Metropolitan Symphony Orchestra, he is currently the principal clarinetist of the NHK Symphony Orchestra and performs with orchestras in Japan and abroad, and was the soloist at the Gathering of Thanksgiving for the 30th Anniversary of His Majesty the Emperor's Enthronement in 2019. In addition to his activities as a soloist, chamber musician, and orchestral player, he also teaches younger students as an adjunct associate professor at the Tokyo College of Music and as a lecturer at the Tokyo National University of Fine Arts and Music and Kunitachi College of Music.Click here for the album containing this song.