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Small Ensemble Bassoon,Clarinet,Oboe - Level 4 - Digital Download SKU: A0.576334 Composed by David Warin Solomons. 20th Century,Contemporary,Jewish. Score and parts. 12 pages. David Warin Solomons #18243. Published by David Warin Solomons (A0.576334). A dance (in Hora style) for oboe, clarinet and bassoon The Arundo Donax is a humble but versatile plant. The writing implement - the reed quill was used in ancient days, before the feather quill, for writing, and is still used in instances where softness, flexibility and humility are required. (Chazal (the sages of the time 200 BCE to 600 CE) say that, to write a Sefer Torah (a handwritten copy of the five first books of the Bible), one must not use a quill from a cedar tree that stands tall and arrogant, rather a quill from a reed which is soft, flexible and humble.) It is also used for the reeds of musical instruments, hence the title of this piece. The word for this reed and for this reed quill pen crosses the boundaries of Semitic and Indo-European: the Latin Calamus, the Greek kalamos, the Arabic qalam, the Hebrew Kulmus, the Swahili kalamu all go back to the Arundo Donax plant and the reed pen from which it is made. The pdf file contains score and parts The recording here is an electronic preview A version is also available on this site for flute, cor anglais and cello.
Hora Ha Kulmus (Dance of the Quill) for oboe, clarinet and bassoon

$8.00 6.97 € PDF SheetMusicPlus

Bass Flute,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548712 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411731. Published by jmsgu3 (A0.548712). Out of the Depths I Cry to You by Martin Luther arranged for bass flute & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
Luther: Out of the Depths for Bass Flute & Piano

$24.95 21.74 € PDF SheetMusicPlus

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148). A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.
An Elegy for Hopes and Dreams
Piano Trio: piano, violon, violoncelle

$27.99 24.39 € Piano Trio: piano, violon, violoncelle PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.998570 Composed by Julie Mandel. Contemporary. Score. 5 pages. Joopie Music #3533927. Published by Joopie Music (A0.998570). INTERVALS : 24 Works for Piano by Julie MandelA musician friend of mine once told me that her favorite songs were those that began with the jump of an octave. Like Somewhere Over The Rainbow. It got me to thinking about how the first two notes of any piece of music really set up what will follow. That octave jump, that interval, is only one of twenty-four possible intervals in a one-octave scale. That is to say, there are twenty-four different intervals with which to begin a piece of music. I have written these twenty-four pieces with the idea of having the first two notes of each of them start with a different interval.I’m delighted that pianists are starting to perform them in concert, and all 24 have been recorded by Hadassah Guttmann. The recording is widely available for purchase and download.Writing them has been like a series of adventures, each of which begins by taking the first two steps - and then discovering where they will lead. I hope you enjoy playing them as much as I enjoyed writing them.Julie Mandel, composerwww.juliemandel.com
INTERVALS: 24 Works for Piano - 23. An Octave Up
Piano seul

$4.00 3.49 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
Prelude 5 in Bb Major Lydian
Piano seul
Brian Golden
$5.99 5.22 € Piano seul PDF SheetMusicPlus

Brass Ensemble - Level 4 - Digital Download SKU: A0.767233 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 16 pages. Lyons Music Services #3087421. Published by Lyons Music Services (A0.767233). Monteverdi - Fourth Book of Madrigals 1603 In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his Stile Nuovo. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the I IV V and minor of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.17. Anima Dolorosa – Suffering soul that lives so much pain and tormentFlexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other transpositions available on request.
Monteverdi - The Fourth Book of Madrigals - 17. Anima dolorosa
Ensemble de cuivres

$4.99 4.35 € Ensemble de cuivres PDF SheetMusicPlus

Jazz Combo - Level 5 - Digital Download SKU: A0.1487008 Composed by Dastan Duisenbayev. Contemporary,Funk,Jazz. 38 pages. DUISENGROOVE #1064031. Published by DUISENGROOVE (A0.1487008). This is my second original composition. It has a Tom Kennedy-Mezzoforte fusion type feel. I wrote this a month ago, with total of three drafts. Writing a piece of music is like writing a screenplay. Very first draft had a motif to build the tutti section upon, a whole different melody, consisting of basically a complex melody, and the chord progression was two times faster. I wasn't happy with the direction, so I decided to slow down the chord progression, write a completely new melody, and only then I had the structure planned out. I named Episode, because my neighbor at the dorm, who is a classical pianist, said that this idea sounds like an episode (musical form). I am not sure if it reflects any understanding of said form, but I will say this. This is definitely an episode of pure passion. This package includes the score, parts: both transposed (Eb and Bb) and concert pitch, and the audio demo of how it should sound like.
Episode
Jazz combo

$25.00 21.78 € Jazz combo PDF SheetMusicPlus

Brass Ensemble - Level 3 - Digital Download SKU: A0.767272 Arranged by Lyons Music Services. Baroque,Renaissance. Score and parts. 15 pages. Lyons Music Services #3218681. Published by Lyons Music Services (A0.767272). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory 'scena', which Monteverdi calls Lamento d'Arianna. A little later, there is a set of 6 songs which he grouped together under the title Sestina. This third song of Arianna's Lament is about a loss of belief or trust in one's lover. (TBH, I wouldn't trust him either!) As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
Monteverdi - The Sixth Book of Madrigals - 03. Dove, dove è la fede
Ensemble de cuivres

$5.99 5.22 € Ensemble de cuivres PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.1307008 Composed by 15th Century German Carol. Arranged by Christopher Durigg. Christmas,Classical,Contemporary,Renaissance,Romantic Period. Score and Parts. 64 pages. Christopher Durigg #896321. Published by Christopher Durigg (A0.1307008). PRODUCT INFORMATIONNOTE: This edition has narrower instrument ranges and fewer technical requirements more suitable for Grade 2.5 players. A grade 3 edition with wider instrument ranges and more technical requirements is also available. Both editions also include some flexiblilty with instrumentation.PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING AND VIRTUAL SCORE: www.cdurigg.com/cdb006C. DURIGG MUSIC ID FOR THIS PIECE: CDB-006GRADE LEVEL: SOARING BAND SERIES (Grade 2.5)OTHER ASSOCIATED SERIES: LIMITED OR FULL BAND SERIESWHAT IS THE LIMITED OR FULL BAND SERIES FROM C.DURIGG MUSIC?Do you have intermediate or advanced performers in a very small band program? Are your performers ready for more intermediate or advanced band repertoire, yet the band’s limited instrumentation holds them back?My Limited or Full series is geared toward the success of small bands with limited instrumentation. These pieces aim at giving small bands more advanced music within the framework of a young band arrangement. If you like the music, these pieces also sound great with a larger full instrumentation.PRODUCT DESCRIPTION:Lo, How A Rose E’er Blooming (originally known as Es ist din Ros entsprungen) is a German Christmas Carol and Marian hymn in mixed meter. First sung in the 15th Century and first published int he 16th Century, this hymn is still popular in the 21st Century. In multiple different contexts, the hymn compares the beauty of Christmas to that of a lovely rose. The most common harmonization to this melody was composted by Michael Praetorius in 1609, and the original part-writing contains elements of the Renaissance madrigal. Although this band arrangement is rescored with different part-writing, it pays some homage to the musical traditions employed in the original carol. This theme and variations is a mixture of four different scoring methods: modern Christmas Carol; gently-applied lyrical contemporary; Renaissance imitation; and a bombastic, Romantic orchestral finish. This piece features multiple subtle musical sensibilities and a gentle introduction into the world of mixed meter. I sincerely hope you enjoy this arrangement!
Lo, How a Rose E'er Blooming (Grade 2.5 Edition)
Orchestre d'harmonie

$35.00 30.5 € Orchestre d'harmonie PDF SheetMusicPlus

Classic guitar - Intermediate - Digital Download SKU: M0.30557EB Composed by Lily Afshar. Arranged by Lily Afshar. Classical. E-book. Mel Bay Publications - Digital Sheet Music #30557EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30557EB). ISBN 9781619116337. 8.75x11.75 inches.Born in the Italian city of Naples, Giuseppe Domenico Scarlatti (1685-1757) was one of the few Baroque composers to transition into the Classical period. Scarlatti composed operas, cantatas, symphonias and liturgical pieces, but his 555 keyboard sonatas are most well-known; a vast collection of single movements in binary form. Lily Afshar's arrangement of Sonata K. 11 (a favorite of Segovia) utilizes staccato articulation reminiscent of the harpsichord and other techniques including cross-string trills and minimal slurs. The pair of sonatas work well together, written in E minor and E major.Sylvius Leopold Weiss (1687-1750) was the most accomplished lutenist of the Baroque period and the most prolific composer of lute music, writing over one thousand pieces for the instrument. The four pieces arranged in this book show the beautiful polyphony and fantastical writing of Weiss. Afshar utilizes campanella (cross-string) fingerings throughout to emphasize the musical line and produce a fuller sound on the instrument.
Scarlatti and Weiss for Guitar

$9.99 8.71 € PDF SheetMusicPlus

TTBB choir and piano - Medium - Digital Download SKU: MQ.50-6079-E Composed by Tom Trenney. Christmas, Christmas-Sacred. Instrument part. 11 pages. MorningStar Music Publishers - Digital Sheet Music #50-6079-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6079-E). English.Premiered by the Viking Chorus at the 2017 St. Olaf Christmas Festival, the sweep of this original text makes it appropriate for many times of the year. At times echoing the words of Christ, at times commenting on them, the result is emotionally powerful. Quite a bit of unison and two-part writing, but in about 10 measures out of the total 75 there is solid four-part TTBB writing. The piano accompaniment is skillful and essential.
Like Him We Rise (Downloadable)
Chorale TTBB

$2.65 2.31 € Chorale TTBB PDF SheetMusicPlus

Piano Solo - Level 4 - Digital Download SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden #843067. Published by Brian Golden (A0.1248575). Prelude 16 in G# Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.    While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.    In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
Prelude 16 in G# Minor Phrygian
Piano seul
Brian Golden
$5.99 5.22 € Piano seul PDF SheetMusicPlus

Brass Ensemble - Level 4 - Digital Download SKU: A0.767222 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 17 pages. Lyons Music Services #3087395. Published by Lyons Music Services (A0.767222). Monteverdi - The Fourth Book of Madrigals 1603In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his Stile Nuovo. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the I IV V and minor of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books. 6. Anima mia perdona – My soul forgivesFlexible quintet parts are supplied as follows:Part 1 in Bb,Part 2 in Bb, Part 3 in Bb/Eb/F, Part 4 in Bb/Eb/C(Bass clef) and Part 5 in Bb/Eb/C(Bass clef)Other transpositions available on request.
Monteverdi - The Fourth Book of Madrigals - 06. Anima mia perdona
Ensemble de cuivres

$4.99 4.35 € Ensemble de cuivres PDF SheetMusicPlus

Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
Op. 21, No. 3: Le Matin au bord de la mer from Songs of Gouvy, V2 (Downloadable)
Piano, Voix

$3.00 2.61 € Piano, Voix PDF SheetMusicPlus






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