SKU: A0.1014397

Orphée et les chemins le rêve (mp3 avec les précomptes pour les changements de tempos de la version pour piano, flûte & cordes) 3 tempos : Adagio 40 à la noire / Adagio Fast 80 à la noire / Allegro 140 à la noire).

SKU: A0.1267744

Arranjo alegre e movimentado com marcações de cifra e dedilhado, apresentando células rítmicas que envolvem quartos de tempo, contratempos, sincopas e polirritmia. Harmonia construída sobre acordes perfeitos maiores e menores, enfatizando intervalos de quinta justa e oitava justa. Encontre mais partituras como essa, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques� no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).

SKU: A0.1267707

Arranjo ritmicamente movimentado no uso de células, sincopas e contratempos que mantêm o diálogo polirrítmico entre as notas da clave de SOL (melodia – mão direita) e clave de FA (acompanhamento – mão esquerda). Arranjo conciso, apresentando marcação de cifra e dedilhado, mantendo padrão rítmico na mão esquerda, em movimento melódico sobre as notas do acorde arpejado, no baixo pedal ou em notas simultâneas. Encontre mais partituras como essa, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques� no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).

SKU: A0.1267750

Partitura acessível com figuras rítmicas maiores que a semicolcheia e marcações de cifra, dedilhado e informações de teoria musical, apresentando um acompanhamento estratégico e harmonioso, buscando o melhor efeito com simplicidade e clareza. Melodia abrangendo notas abaixo do DO3, indo até o terceiro espaço complementar inferior da clave de SOL, tendo como tessitura “SOL2 até LA3� e apresentando contratempos no primeiro tempo. A mão esquerda acompanha a melodia através de notas que se movimentam sobre as unidades de tempo buscando a fundamental e a quinta do acorde, abrangendo notas graves entre “DO1 e MI2�. Encontre mais partituras como essa, colando o nome do arranjador (Sérgio Matias da Cunha) na barra de pesquisa. ATENÇÃO: Compre os quatro volumes do “Curso de Teclado Primeiros Toques� no site https://www.sheetmusicplus.com/ colando o código na barra de pesquisa. Volume1 (A0.1314018) Volume2 (A0.1314021) Volume3 (A0.1314023) Volume4 (A0.1314028).

SKU: A0.874871

Receive all 3 arrangement levels for the price of one!  Move up the Performance Ladder by stair-stepping from Level 1....to 2....to 3. (Audio Demo is Level 1).  While these can be played as Standalones, be aware they were designed specifically for use with our Perf. Tracks at 4 different tempos.   (For Levels 4+ and 6, see #SO.410841)  

Important:  There are FOUR different sound tracks. All are identical except for tempos: Slow, Medium, Fast, Very Fast. There are FIVE challenge levels:  1,2,3,4+,6. So....Any challenge level can be played at any tempo!!!   Take your pick.  Lvl 6 players could begin with the slowest tempo and work up to 'very fast.'  Purchasing all four tempos (special pricing) gives max flexibility whether you are at Level 1 .... or Level 6. Enjoy!!

Visit www.JerryNelsonMusic.com for a FREE 15-song Mega-Medley of Arrangements & Audio Demo.

SKU: A0.894031

For Solo Piano, Early Advanced, 13 Pages

Notes from the Composer: Theme & Ten Variations was the result of my curiosity as a composer. It was self-assigned in an effort to deepen my own understanding of musical connectivity. There is a lot of math and manipulation in this composition, making it a good choice for analysis. However, musical communication is far more complicated than connectivity.

Each short says something in particular to the performer. I might name the theme Less is more. The first variation communicates a daring sense of risk. And so on. Of course, this is delightfully subjective! Some of these variations are technical beasts. Find your own tempos as you delve into this work. Musical ownership and self-discovery are the ultimate goals.

Each short says something in particular to the performer. I might name the theme Less is more. The first variation communicates a daring sense of risk. And so on. Of course, this is delightfully subjective! Some of these variations are technical beasts. Find your own tempos as you delve into this work. Musical ownership and self-discovery are the ultimate goals.

SKU: A0.928154

Volume III of this series, containing five J.S. Bach keyboard works fromThe Well-Tempered Clavier and Inventions and Sinfonias, expertly arranged for three Trombones (2 Tenor 1 Bass). This edition contains tempos, ornamentation, articulation and dynamics to help guide players with less experience performing baroque music. Ornaments are authentic, either from Bach or his immediate students. Tempos, dynamics, and most articulations are my recommendations. The first trombone part is provided in both tenor and bass clef. There are also two sets of first and second parts, one with original ornaments and one with the ornaments realized in suggested notation, as well as a guide to interpreting ornaments. The Bass Trombone has no ornaments added. Performers are, of course, free to devise their own interpretations. Each volume of Bach for Trombone Trio is carefully compiled to work as a single, compatible set with a playing time under ten minutes, excellent for use in both contest and recital. Performance time for all works is 7:57. Member, ASCAP.

SKU: A0.1026428

A suite for the intermediate player, that contains elements of classical, romantic and baroque genres. Tempos are recommended guidance only- they work at any number of tempos (except for the allegro in movement 2). Otherwise, play them as you feel them. Movement 1 is really a set of variations on the main theme in D minor. It explores a moderate range of keys and rhythms. Movement 2 starts with an adagio that can be played quite freely, ascending from Cmaj up thru various keys, leading to an allegro/presto dance-like piano theme in Dmaj. Much room for tempo/dynamics interpretation then ending with a brief restatement of the adagio theme in a new key, followed by a mad rush up the cello to a high, quiet E, with small sighs to end the piece. Movements 3, 4 and 5 would be good performance pieces for students (melodically solid with multiple harmonic shifts, moderate bowing and fingering challenges and engaging rhythms).

SKU: A0.1240428

Think of the story behind this music as about a young lady who  just loves the waltz, and loves to sing and dance to its lilting triple time.  Her dancing partner is a dashing, ever so handsome young man, who sweeps her off her feet and takes her breath away with his charm and grace, as they float away on the wings of A Dance In Triple Time!

I originally composed this piece as a little warm up ditty for my chorus, but as I worked the melody and the harmony, it grew into just a little bit more than a warm up exercise. We always enjoyed singing this little piece for our audiences. And they always enjoyed hearing it.

One caveat; The lyrics go by quickly! Leads, use your best diction and pronunciation, so the story doesn't get lost. Harmony voices, keep the melody prominent, by always singing your la-las at least one dynamic notch below the melody!

Choose the waltz tempo of your choice - very relaxed to very lilting in 1.  Base your choice on being able to deliver the lyrics with great clarity, especially in the faster passages. Be sure to observe the accelerandos, broadening tempos, a tempos, legatos, and staccatos. They all have much to do with delivering the style of this piece, especially the off beat la-las. Some pairs are staccato, in other pairs, the first la is legato, the second la is staccato.

The metronome marks more accurately describe the accelerandos and broadenings. On the repeat at 11, a slight increase in the tempo will add urgency and intensity. Keep the melody prominent as it moves to different voices, beginning at 37. Maintain the crisp staccato harmony against the legato melody, and enjoy the change to full legato for all voices.  

Anastasio Rossi May 2023

Learning tracks are available at no cost from the composer: AAR@prodigy.net.