SKU: A0.964297

Morgengruss (Morning Greetings) 

Die Schone Mullerin was Schubert’s first song cycle and an essential cornerstone in the genre of art songs. It tells the story of a young miller who is on a journey in search of work after completing his apprenticeship. He follows a brook flowing through the countryside, which leads him to a mill where he can seek employment. However, upon meeting the daughter of the mill’s owner, he quickly falls in love with her. This is the eighth song in the cycle and serves as an interlude. It shows the protagonist serenading the miller’s daughter, but he is concerned that his greetings might disturb her because she turns away from him. The narrative does not make clear if this exchange between the two characters is real, or if it all takes place inside the protagonist’s head. Despite his misgivings, the mood of this song is serene and fairly joyful. The triplets at the end of each verse represent the brook, which is present throughout the entire song cycle.

This classic Schubert song has been arranged for voice and acoustic guitar in order to provide an alternative accompaniment option for singers who want to perform Schubert’s lieder with guitar instead of piano.

SKU: A0.922637

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Cello

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit

SKU: A0.922639

Original by Johann Strauss II
Reduction to String Orchestra by Aaron Meier

Part: Double Bass

True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament).

Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles)
---

Performance Notes:

• Approximate length: 3:30 minutes
• 1st Violins: In m. 1, trill a half step from a Dâ™­ to a Dâ™® 
• 2nd Violins:
 - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B
 - At m. 72-75, emphasize the E♭ in the div.
• Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓)

History:

The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody.

Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms.
[excerpted from NAXOS Records]
Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.

Resources:

• Visit.

SKU: F2.FM557

ISBN 9790570484560.

The Wounded Angel (2013) is written for piccolo, two flutes, alto flute and bass flute, and is dedicated to Christine Turellier, a professor of flute at the Lille Conservatory of Music (France) where the work was premiered. These pieces were inspired by a painting entitled The Wounded Angel (1967) by the visionary British artist Cecil Collins (1908-1990). His works have been the basis for a number of D'Angelo's compositions. For example, one of his latest pieces for orchestra takes its inspiration from Collins' painting The Angel of the Flowing Light (1968). In his extensive output the artist often used angels and fools as symbols of purity and wisdom. In the painting, the earthbound, winged, wounded angel is lying on its side with its eyes closed. Its colours blend in with the purplish colours of the earth. In the distance is a mountain shaped like a pyramid while the sky is filled with shades of orange. Just at the point where the mountain meets the bleak landscape we see the sun just rising. This angel has been injured and fallen to Earth and in its distress has to find a way of healing itself and ascending to its spiritual home. In this highly impressionistic piece the piccolo stands for the wounded angel. It has a three note motif and its wound is suggested by the semitone difference of the second note each time the motif is repeated. The piece is a voyage through all the states of mind the angel experiences. For example, there are moments of contemplation and peace where the alto and bass flutes play rocking rhythms in open fifths. The final bars of The Wounded Angel portray the gentle power of the angel to heal itself and return to the heavens. Here, following the motif of the gently rocking rhythms the piccolo plays two ascending fourths leading to a G sharp which has its resolution in the angels keynote A.

SKU: A0.1488844

Artaria Editions AE438

This edition is based on Ries' autograph score. It is, for the most part, carefully written and presents few difficulties to the editor. Nonetheless, there are instances where dynamic markings and articulations are ambiguous and, in some places, where the pitches are unclear. In order to facilitate performance, the style and notation of articulation and dynamic markings have been standardized throughout, and, where missing from the autograph, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets.

Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are places within brackets. Uwe Grodd's research for this edition was made possible with the support of a grant from the University of Auckland Research Committee UARC.

Allan Badley, Uwe Grodd.

SKU: A0.1122959

He Dwells There is a song about being ushered into the King of King's presence in His palace made of gold and pearl. This is where Jesus sits on the throne and where He invites us to share it with Him. This is where Jesus dwells, our eternal home with Him. This is a ballad song for piano and vocals.

SKU: A0.521482

Symphony No. 5, Mov. I, Allegro con brio (abridged), Beethoven, String Quartet of 2 violins, viola and celloScore: Score: 11 pages

This was a really fun project. It's approx. 5 min. 30 seconds and I think that the cut I took after the repeat works really well. I think it's a fun listen too. I hope you like it!

parts: 12 pages

time: 5:30

MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts 

however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.

Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.

If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing.

VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.

PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. 

AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.

LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. 

ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.

EXCELLENT for corporate events, weddings, social gatherings and recitals.

APPROPRIATE for students and schools.

CHURCH REPERTOIRE I’m always adding more titles.

Thank you for your purchase!

SKU: A0.918241

A modern, melodic original composition, suitable for students and advanced musicians alike.

Composer’s Note:

The Acheron is a river in Greece, but it also has a history in Greek myth. While it is known as a river of woe in connection with the mythical Greek underworld, it can have positive connotations when the underworld is reframed as a place for introspection, transformation, and rebirth.

For interested students or teachers, here are a few pedagogical notes:

This piece is intended to be performed without pedal, but in a legato style. It has an understated and modern quality that older high school and adult students may enjoy. This can be an opportunity for students to work on playing their eighth notes evenly, to strengthen their left hand by holding down the bass note, and to understand and correctly play hemiola. Only a single, initial dynamic marking is included in the text; this piece can be an exercise in looking at the overall structure and using one’s intuition to shape the phrases. There are a few places where fingering is indicated, but the fingering is mostly left up to the player, so that they can work with their teacher to problem-solve-especially if their hand size is small (like the composer’s).

About the Composer:

Emily Nafius is a pianist in Southern California with her musical roots in jazz. As a soloist or sideman, she has performed at numerous music venues around California in an eclectic mix of styles, and recorded with a variety of jazz musicians, singer-songwriters, and rock bands. Her work as an accompanist spans classical, jazz, and musical theatre, receiving praise for her theatre work as a pianist and ensemble leader. She has maintained a teaching studio for over fifteen years, instructing musicians of all ages.

SKU: A0.1416228

How Great Thou Art 
MEDIUM EASY PIANO

Stuart K. Hine served as a British Methodist missionary for a time in Ukraine. In 1931 he heard the Russian translation of a German song inspired by Carl Boberg's poem O Store Gud (O Great God). Hine translated the song to English and added verses. The central theme appears in the third verse: And when I think that God, His Son not sparing, sent Him to die, I scarce can take it in. 

Mr. Hine and his family left Ukraine as famine and World War Two began, settling in Somerset, Britain, where he continued to serve in missionary efforts. And, although several competing translations appeared through the years, this version of the lyric was published in 1949 and quickly spread in popularity. It was first widely used, though after further introduction by the Billy Graham Evangelistic Team in its London Crusade of 1954, as well as in subsequent American meetings.

Colossians 1:16
Psalm 90:2
Psalm 105:2

Expressed simply and clearly for beginning pianists, with fingering suggestions for both teacher and player, itâ??s a perfect choice for prelude, brief offertory, recital or other occasions and itâ??s perfect for each of the stanzas from most hymnals.
Soâ?¦check out other versions of How Great Thou Art, including EASY PIANO from Studio B Productions
Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!

SKU: A0.767564

This is a highly programmatic piece for flute trio, loosely based around one of the Grimm Brothers’ Fairy Tales Hansel and Gretel. The first movement depicts the children wandering off into the dark forest, initially surrounded by twittering birds and sunlight, but as the movement progresses, the music becomes darker. As the light fades, the children strew breadcrumbs to guide their way out of the forest when they decide to return to the village. At letter C, the mysterious chords suggest something disturbing, perhaps trees with scare faces or giant spiderwebs. At D, the change to 3/4 time suggests the children are anxious and scurrying through the trees, feeling scared, with the use of flutter tonguing suggesting their shivers of fear. Finally, out of breath, they reach the dark clearing with the Gingerbread house. The second movement describes the witch’s Gingerbread house. The top line shows the house’s roof, the middle line shows the windows and the third line marks out the porch and the front door. The children wonder at the strange building and chatter to each other as they explore it, perhaps nibbling here and there. The motif that describes the shape of the house appears from time to time throughout this section as they explore it from different angles. At letter D, after the G.P., the children begin to sense that they are not alone in the house. The low trill on the third flute is meant to be a breathy whisper (it doesn’t matter if the notes fail in performance for this reason) as the witch mutters under her breath. She attempts to pounce on the children and force them into her oven, but they are too fast for her. They trick her into the oven and slam the door shut (Bar before F.) They run from the clearing, not caring if they are going in the right direction. They glance back - once catching sight of the Gingerbread house which has begun to collapse in on itself - before they finally stop for breath as night begins to fall and they find a safe place to sleep (Lento before G.) The third movement sees our young heroes looking for the trail of breadcrumbs to take them back to the village. They are plodding through the deep forest, accompanied once more by the birds. Occasionally they find a crumb or two, but the birds have eaten most of them. They eventually manage to backtrack to the village (the music reflects this as it’s a retrograde of some of the music from movement 1) and they finally reach the village where they are greeted with a party for having killed the witch and returned safely home. This music is in a ‘pastoral style (6/8) and fades away as …they all lived happily ever after.