SKU: A0.924605

Arreglo del famoso tema La Bikina, adaptado para ensamble de flautas en un estilo más cercano al clasicismo, y con un par de secciones contrapuntísticas.
El ensamble tiene la siguiente configuración:
Piccolo
Flauta 1 y 2
Flauta alto
Flauta bajo.

Esta edición incluye partitura y particellas.

SKU: A0.900398

Celtic music song composed by Gustavo Fuentes in homage to Asturias, Celtic land of Spain, arranged for four voices. Three melody instruments, such as tin whistle, flute, recorder or violin, and low voice like cello or bass, with chords for piano or guitar. This arrangement belongs to the repertory of Ensamble de Música Celta de Buenos Aires, of which Gustavo Fuentes is director and arranger. The audio is from the CD Estoy en mis sueños. https://youtu.be/--VN5V29W3c

Canción de música celta compuesto por Gustavo Fuentes en homenaje a Asturias, tierra celta de España, arreglada para cuatro voces. Tres instrumentos agudos como tin-whistle, low whistle, flauta traversa, flauta dulce o violín, y un instrumento grave como cello o bajo, con cifrado de acordes para piano o guitarra. Este arreglo forma parte del repertorio del Ensamble de Música Celta de Buenos Aires, del cual Gustavo Fuentes es director y arreglador. El audio pertenece al CD Estoy en mis sueños.

SKU: A0.900397

Traditional spanish march, arranged for two melody instrument, such as spanish bagpipe, tin whistle, flute, recorder or violin, and low voice like cello or bass, with chords for piano or guitar. This arrangement belongs to the repertory of the celtic group Eriskay, of which I am its director and arranger. The audio is from our CD Musica Celta that you can listen to on Spotify. It is also the arrangement in the version of the Ensamble de Música Celta de Buenos Aires. https://youtu.be/CpWBDfTGrvA

Marcha tradicional de Galicia (España), arreglada para dos instrumentos melódicos, como gaita gallega, tin-whistle, flauta traversa, flauta dulce o violín, y un instrumento grave como cello o bajo, con cifrado de acordes para piano o guitarra. Este arreglo forma parte del repertorio del grupo de música celta Eriskay, del cual soy el director y arreglador. El audio pertenece a nuestro CD Música Celta, que se puede escuchar completo en Spotify. También es el arreglo en la versión del Ensamble de Música Celta de Buenos Aires.

SKU: A0.1203289

Cueros negros es una obra instruccional para ensamble de percusión donde se utiliza los ritmos afros del Perú, como el festejo. El ensamble es de: Bongo, Timbales, Congas, Drum set y Cajón.

SKU: A0.1349553

GENERAL PREFACE

This edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.
The total collection is centred more on the music from mainland Greece and less in that from the Islands.
The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.

TECHNICAL

Separate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.
Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.
Thematic Index with active internal links for ease of navigation have been added.
Audio file (mp3) has been added

CONTENTS

33  ΒΛΑΧΟΥΛΑ ΕΡΟΒΟΛΑΓΕ (A Little Wallachian Lass Was Rolling Down)
34  ΒΡΕ �ΙΚΟΛΟ (Hey You, Nikolo)
35  ΓΑΛΑΖΑ�Η Η (The Blue Eyed)
36  ΓΑΛΑΖΙΑ ΠΟΥ�' Η ΘΑΛΑΣΣΑ (How Blue is the Sea)
37  ΓΑΜΗΛΙΟ� 1 (Bridal 1)
38  ΓΑΜΗΛΙΟ� 2 (Bridal 2)
39  ΓΑΜΗΛΙΟ� 3 (Bridal 3)
40  ΓΑΜΗΛΙΟ� 4 (Bridal 4)
41  ΓΑΜΗΛΙΟ� 5 (Bridal 5)
42  ΓΑΜΠΡΟΥ ΤΟΥ (Of The Bridegroom)
43  ΓΑΡΓΑΛΙΑ�ΙΩΤΙΣΣΑ (The Lass From Gargaliani)
44  ΓΑΡΥΦΑΛΙΑ Η (The Carnation Bush)
45  ΓΕΡΑΚΙ�Α (Falconess)
46  ΓΙΑ ΔΕΣ ΛΕΒΕ�ΤΗΣ (Behold A Brave Man)
47  ΓΙΑ��ΑΚΗ ΑΣΗΜΑΚΗ ΤΟΥ (Of John Asimakis)
48  ΓΙΑ��ΟΥΛΑ Η (Joan).

SKU: A0.718123

Arranged for a live performance with Kate Ceberano. Vocal (no vocal part included), Backing Vocals, Tenor Sax, Trumpet, Trombone, Piano, Guitar, Bass, Drums, Percussion.  Key of B minor.

Same arrangement for Big Band also available on SMP

More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128

SKU: A0.1360674

GENERAL PREFACE – ΓΕ�ΙΚΟΣ ΠΡΟΛΟΓΟΣ

This edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.
The total collection is centred more on the music from mainland Greece and less in that from the Islands.
The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.

TECHNICAL
Separate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.
Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.
Thematic Index with active internal links for ease of navigation have been added.
Audio file (mp3) has been added

CONTENTS
49  ΓΙΑΤΡΟΣ Ο (The Doctor)
50  ΓΙΩΡΓΟΣ Ο (George)
51  ΓΚΙΟΥΛ ΜΠΑΞΕΣ (Beautiful Garden)
52  ΓΛΥΚΟΧΑΡΑΖΕΙ Η ΧΑΡΑΥΓΗ (The Dawn Comes Sweetly)
53  ΔΑΧΤΥΛΙΔΙ ΤΟ (The Ring)
54  ΔΕ�ΤΡΟ ΤΟ (The Tree)
55  ΔΕΡΒΙΣΑΚΙ ΤΟ (The Little Dervish)
56  ΔΗΜΟΣ Ο (Demos)
57  ΔΙΑΜΑ�ΤΙ ΔΑΧΤΥΛΙΔΙ (Diamond Ring)
58  ΔΙΑΜΑ�ΤΩ Η (Diamanto)
59  ΔΥΟΣΜΑΡΑΚΙ ΤΟ (The Peppermint)
60  ΕΓΩ ΕΙΜΑΙ Η ΒΛΑΧΑ (I Am The Wallachian Woman)
61  ΕΙΚΟΣΙΠΕ�ΤΕ ΤΟΥ ΜΑΡΤΙΟΥ (25th of March)
62  ΕΙΧΑ ΜΙΑ� ΑΓΑΠΗ (I Had A Love)
63  ΕΞΟΜΟΛΟΓΗΣΗ Η (The Confession)
64  ΕΡΗ, ΕΡΗ�ΑΚΙ ΜΟΥ (Eri, My Little Erini).

SKU: A0.1288799

Side note: This version is for small/medium percussion ensembles
EN:
This composition was written for one of the parts of the D exam by Frits Renting. The starting point of the composition was: film music. Inspired by well-known works by Hans Zimmer, Brian Tyler, John Williams and works by De Efteling. The composition starts in a fairly small composition in which, with the help of crescendos and several instruments, it works towards a strong, but above all open and cheerful part. This is followed by a short untuned percussion solo. After this, theme A is closed in a calm, non-violent manner. Immediately theme B comes in which is built up through crescendos and multiple instruments over time. Theme B also comes to a quiet end afterwards. After this theme A and B return at the same time, which builds up and closes in a grandiose way.

NL:
Deze compositie is geschreven voor één van de onderdelen van het D examen van Frits Renting. Het uitgangsdoel van de compositie was: filmmuziek. Geïnspireerd door bekende werken van Hans Zimmer, Brian Tyler, John Williams en werken van De Efteling. De compositie begint in een vrij kleine samenstelling waarbij, met behulp van crescendo's en meerdere instrumenten, het zich toewerkt naar een sterk, maar vooral open en vrolijk gedeelte. Dit wordt opgevolgd door een korte ongestemde slagwerk solo. Hierna wordt thema A op een rustige, geweldloze manier afgesloten. Direct komt thema B binnenvallen wat word opgebouwd door middel van crescendo's en meerdere instrumenten in loop van de tijd. Ook komt thema B daarna tot rustig einde. Hierna komen thema A en B tegelijkertijd terug wat zich opbouwt en op een grandioze manier, zich afsluit.

SKU: S9.Q42249

In a film portrait of dancer, painter and sculptor Antje Tesche-Mentzen, I learned that in former times she was a proficient pianist. When she told me that she intended to begin playing again, I promised to compose her a cycle for her new beginning: 34 miniatures, some of them with a direct connection to her paintings and sculptures. The main part of Kosmos was composed in 2014, 400 years after Albrecht Dürer created his copperplate engraving ‘Melencolia I’, in which a magic square appears. In a magicsquare, numbers are arranged in a grid so that their sum in each column, row, and the two diagonals is the same number. In the square I have chosen, the magic number is 34. Wilfried Hiller

Eine Hommage an die Kunst: 34 kurze Klavierstücke unterschiedlichen Charakters bestehend aus alten und neuen Kompositionen wurden hier zusammengeführt – beschwingte Tänze, ergreifende Seufzermotive, jubilierende Akkorde. Für Wiedereinsteiger und eingerostete Pianistenfinger.

SKU: A0.742492

Around the year 1726, John Walsh, a London music publisher, created a wonderful forgery in order to run around the copyright laws of the day: he pretended to pirate an edition supposedly published by the House of Roger in Amsterdam. This forgery included 12 Sonatas for solo instrument and continuo which had been composed by one George Frideric Handel (1685-1759). Around 1793 the House of Arnold published the same set, omitting two of the original 12 and replacing them with two others by Handel. So at this point there were a total of 14 solo sonatas available to the public.

In the year 1879 Friedrich Chrysander issued these 14 works and several others in volume 27 of the German Handel Society’s Gesamtausgabe of Handel’s works. Since then they have been edited from this scholarly work many times, and afflicted by all sorts of permutations which reflect the various styles of performance in vogue over the years. One finds editions stripped of ornamentation but loaded with articulation and dynamic markings at one end of the spectrum, and editions with modest stenographic and florid ornamentation at the other.

The Sonata in C Minor (London: 1712) is a pure example of the middle phase of the solo sonata da chiesa [church sonata]. The first three movements are indicative of the style found in sonatas derived from the disruptive canzona of the early 17th century. An initial slow movement with walking bass is followed by an imitative movement (in this case, a fugue with a chromatic subject), which in turn leads to an Adagio. This latter movement in the relative major is a ricercare containing several imitative entrances. The finale is a spirited binary-form Bourrée angloise, an item taken over from the French ordre or dance suite. The extraordinarily short length of this movement seems to indicate that a trio is missing here; therefore, I have added the bourrée from the Royal Fireworks Music of 1749 to act as a trio, but players are certainly free to omit it. Adding a series of variations based on the chord changes of the Bourrée angloise would be an alternative way to lend weight to this final movement.

Taken from https://www.idrs.org/scores/Lehrer/DRArch/69HandelSonataCm.html