SKU: A0.1088119

Arranged wind quintet. Horn Part in Bb basso ( same as Beethoven's )(alt Hn in F part provided) The Symphony No. 8 in F major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as my little Symphony in F, distinguishing it from his Sixth Symphony, a longer work also in F.[1] The Eighth Symphony is generally light-hearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes. As with various other Beethoven works such as the Opus 27 piano sonatas and the later Ninth Symphony, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.

This is my arrangement of the 2nd mvt. There is a widespread belief that this movement is an affectionate parody of the metronome, which had only recently been invented (or more accurately, merely improved) by Beethoven's friend, Johann Maelzel. Specifically the belief was that the movement was based on a canon called Ta ta ta... Lieber Maelzel, WoO 162, said to have been improvised at a dinner party in Maelzel's honor in 1812. However, there is no evidence corroborating this story and it is likely that WoO 162 was not written by Beethoven but was constructed after-the-fact by Anton Schindler. A more likely inspiration was the similar rhythmic parody of Joseph Haydn's Clock Symphony.

The metronome-like parody starts at the very beginning of the movement with even staccato chords in 16th-notes (semiquavers). This basic 16th-note rhythm continues fairly steadily through the piece. The tempo is unusually fast for a symphonic slow movement. Richard Wagner has argued that the third movement was intended as the slow movement of this symphony and that the second should be played as a scherzo.

SKU: A0.802791

Score and Full Set of 8 Parts A fairly easy arrangement of this famous anthem, with performers playing mostly in unison. There are some harmony passages and there are multi-rests in all the parts. Marimba would make a good substitute for the Bass Xyl. The tempo markings are suggested ones only. I hope you enjoy this playing this arrangement!

SKU: A0.593988

We Three Kings is a much-loved Christmas carol. This version is arranged as a duet in a Jazz Waltz style for one Oboe and one Clarinet.  Click on the YouTube link above to listen to a full length performance of this arrangement played on Clarinet.

We Three Kings was written in 1857 by a Pennsylvanian rector, John Henry Hopkins Jr. His friends and family encouraged him to publish the carol, and after it first appeared in print in 1863, its popularity spread to an international audience.

With a performance time around three minutes, this version of We Three Kings is perfect for seasonal celebrations and concert performances, both formal and informal. The jazz waltz style is a fun and fresh take on this familiar traditional tune.

We Three Kings is arranged in a key and range best suited to the instruments. Rhythms are syncopated, as one would expect in a jazz waltz, and there is plenty of articulation detail to help deliver an authentic swing style. The melody is played three times, with a short intro and outro. This arrangement is suitable for players at an intermediate or early advanced level.

There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

SKU: HX.478061

SKU: A0.596601

Los ñoquis del veintinueve

– The Gnocchi of the Twenty-Ninth –

by Juan María Solare

Audio: https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS

Comments

The order of these 29 numbers is rigorously random, as is the election of the six sizes of the fonts (12, 16, 20, 24, 28 and 32 picas).

In order to determinate both dimensions I used the program I-Ching by Andrew Culver (assistant to John Cage in the '80 and '90), a program that is distributed as shareware in internet (thanks).

The colour version follows the following criterion:

- (a) prime numbers (see green)

- (b) multiples of 3 (red)

- (c) all other numbers (blue)

...if it ends up being good music

then what matter the procedure involved?

(David Cope, New Music Composition, p. 117)

About the expression los ñoquis del 29:

The Italian word gnocchi (gnocchi is plural of gnocco, which meaning is lump) is used in Spanish often as ñoqui or ñoquis.

In the Río de la Plata (Argentina and Uruguay) are traditionally eaten on the 29th of each month, the day before payday, when people has less money. This tradition is called los ñoquis del 29 - the gnocchi of the twenty-ninth.

There are naturally other versions. The most picturesque comes from a legend of the VIIIth century (or even IIIrd century). A young physician called Pantaleon (Panteleimon) lived in Nicosia (Cyprus), who after converting to Christianity, journeyed through the North of Italy. There he practiced miraculous healings due to which he was canonized. In a certain occasion, he asked some Venetian villagers for bread, and they invited him to share their poor table. Grateful, he announced them a year of excellent fishing and harvest. The prophecy was fulfilled. Saint Pantaleon was consecrated –along with Saint Mark– patron of Venice. That episode occurred on a 29th, for this reason that day is recalled with a simple food represented by gnocchi. The accompanying ritual of putting money below the dish represents the yearning of new gift.

Outside the culinary realm, certain Argentine and Uruguayan functionaries are dismissively called ñoquis, because they only go to work at the end of the month, to justify their salary or simply to cash in for a not fulfilled work. This meaning was spread since the 1970's.

Premiere: Luis Mihovilcevic, Saturday 25 October 2008, Centro Cultural Islas Malvinas, La Plata (Argentina).

* JMS * DonSolare@gmail.com *

https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS

SKU: A0.592081

10 Spooky Halloween Duets is a fun collection of original compositions by David McKeown for two Soprano Saxophones.

Each duet is a light-hearted portrait of a different Halloween character. Witches, ghosts, vampires and other favourites appear, with biographical details on each title page. The duets cover many musical styles, from classical to jazz and beyond.

The ten titles are, Derek the Deskbound Demon, Frankie the Frank Frankenstein, Mimi the Multicoloured Mummy, Phyllis the Photobombing Phantom, Polly the Polyrhythmic Poltergeist, Scott the Scatterbrained Skeleton, Vicky the Vegetarian Vampire, Walter the Weary Werewolf, Wendy the Wonky Witch and Zoe the Zen Zombie. 

These duets are ideal for players of an Intermediate to Advanced Intermediatestandard and above. While the keys and range are easily accessible for your instrument, there are plenty of accidentals and challenging rhythms. Click the link above to hear short samples of each duet on YouTube played on clarinet.

10 Spooky Halloween Duets are

• perfect for concert performances large and small; each piece lasts between three and four minutes.
• spooky pieces to get you and your audience in the mood for Halloween, but playable any time of year.
• fully articulated to help interpret each style.
• great for helping with complex rhythms.
• road tested with scores of students and performed all over the world.
• fun to play.
• an exciting introduction to different musical styles.
• 38 pages adding up to more than half an hour of quality music.

There are many more top quality arrangements and compositions by David McKeown for you to browse at https://www.sheetmusicplus.com/publishers/david-mckeown/6203

SKU: A0.1037873

The iconic Mamma Mia by Abba, arranged for cello and piano by Tim Crooks. This arrangement is great for intermediate players (ABRSM Grade 4+), and is always good fun to play. The solo part has passages in higher positions, some of which are marked 8ve, so there is the option to play these in 1st position. There is a second, easier cello part (approx grade 2 level) that can be added. About the arranger Tim Crooks trained as a violinist and violist, working professionally in Manchester (UK) for many years. He was a founding member of the Manchester String Quartet and scored many arrangements for the group's recordings. Tim now orchestrates and conducts, working with orchestras including Manchester Camerata, Royal Liverpool Philharmonic, RTÉ Concert Orchestra and the Philharmonia. STR:UK String Arrangements, made in the UK Get in touch - your feedback and requests are always welcome! strukstrings@gmail.com twitter.com@strukstrings Facebook@Strukstrings.

SKU: A0.588972

Samba de Simão is an exciting original composition by David McKeown, arranged as a duet for two Soprano Saxophones.

This duet is based on the style of Samba. With roots in West African music, modern Samba emerged in Rio de Janiero, Brazil at the beginning of the twentieth century. There are many forms, both sung and instrumental, and the Samba rhythm has found its way around the world into jazz and modern electronic pop and dance music. Samba has become a cultural symbol of Brazil, with Rio’s famous Samba schools producing theatrical and ultra-professional showpieces for the annual carnival.

If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. Rhythms should be lightly articulated, the melody should always flow, the two underlying strong beats in each bar should always be felt, and following the articulation in the score will help convey the style. Samba de Simão has a performance time of two and a half minutes. Follow the link above to listen to a complete YouTube performance of the Clarinet version of Samba de Simão.

There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

SKU: A0.577550

Instrumental duo inspired by Neville Frenkiels' poem A forever kind of love There is no explaining all the changes inside just one person's lifetime too many kinds of pain don't even have a name There is no explaining the meaning of them all. Only questions ... but I do believe the slowly changing colours of the seasons clearly show how ev'ry thing in its turn must surrender and all things overflow into for ever An everlasting love, ev'rything ev'rything love The sung version (with my live performance) is also available on this site The sound sample here is an electronic preview. The pdf file contains score and parts.