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Piano - Level 1 - Digital Download SKU: A0.1259669 By David Archuleta. By John Lennon. Arranged by DecPlay Ltd. Contemporary,Folk,Pop,Rock,Standards. DecPlay Piano. 3 pages. DecPlay Ltd #852958. Published by DecPlay Ltd (A0.1259669). You have great taste - this is a great song! If you’re not a DecPlay student yet, you might be wondering why the song sheet isn’t using traditional notation or chord names …..This patented form of song sheet from DecPlay® enables songs to be learnt much quicker and more easily than using traditional notation or guitar chords. The simple numbers, colours and patterns method enables rapid results on piano.The same song sheet enables beginner and advanced playing styles, in any musical key.For more details and a FREE video lesson go to www.DecPlay.com(This type of sheet music is known as piano tabs or PianoTabz and includes lyrics, melody and chords.).
Imagine
Piano Facile
David Archuleta
$3.99 3.44 € Piano Facile PDF SheetMusicPlus

Piano Solo - Digital Download SKU: A0.1003947 Composed by Faith Angelina. Contemporary,Praise & Worship,Sacred,Spiritual. Score. 3 pages. Faith Angelina Music #3141419. Published by Faith Angelina Music (A0.1003947). From twelve year old composer Faith Angelina off her debut album Reaching 12 (available at FaithAngelina.com).  This song was a turning point for me as I looked for help from my destructive feelings and found the love and support that was always within my reach.  - Faith Angelina It was August 8th, 2016, when Faith’s mother found the suicide note left on her minivan.  It was a heart stopping moment.  The type that slows down time and changes all priorities and perspectives.  On the front side of the paper it said, PLEASE READ in big letters.  On the back was the following… Dear Mom, I am writing this to inform you about something I didn’t have the strength to tell you in person.  I have depression.  I know you think that we all go through a stage where we are sad it’s true, but this is not the case.  I thought that I just had a sad time too until I realized I had been thinking about killing myself many times.  I know that this is hard to hear but I felt it was important to tell you something I had been holding back for 5 years.  I hope you can think of me the same after this note, and know that me thinking about killing myself is NOT your fault. Love,  Faith   After an immediate trip to the doctor, it was discovered that Faith didn’t have clinical depression but that she suffered from a hormonal imbalance in her body.  She had been waking up in the middle of the night over half of her young life and wandering around while the rest of the family slept.  With a small prescription, and lots of love, Faith headed off to start middle school and a magical year that would follow. Shortly after this experience, Faith composed a new song called Finding Hope and finished up on three others she had been working on. 
Finding Hope
Piano seul

$3.50 3.02 € Piano seul PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company.   At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc.   At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process.   The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral.   In the premiere, the Robinson Ballet will dance in the orchestral movements.  The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man.   It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor.   God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestre

$9.99 8.61 € Orchestre PDF SheetMusicPlus

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.922474 By Midnight Oil. By James Moginie, Peter Garrett, and Robert Hirst. Arranged by Benjamin Duvallet. Contemporary. Octavo. 7 pages. Benjamin Duvallet #6101769. Published by Benjamin Duvallet (A0.922474). Midnight Oil famous pro environment hit arranged for SSAB or SATB + piano (alto voice doesn't go very high) by Benjamin Duvallet. To perform with piano (part included) or live orchestra or homemade backing track available for free on demand (see youtube demo).Benjamin Duvallet has been conducting and arranging for more than 20 years, funk, pop, rock hit songs. Check on this site and on youtube ! He is the conductor and artistic director of funk choir Sing Groove Together.
Beds Are Burning
Chorale SATB
Midnight Oil
$2.99 2.58 € Chorale SATB PDF SheetMusicPlus

Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
Variations on a Rossini Theme op.Posth
Orchestre de chambre

$29.99 25.84 € Orchestre de chambre PDF SheetMusicPlus

Instrumental Solo,Saxophone - Level 4 - Digital Download SKU: A0.983172 Composed by Craig Wadley. 21st Century,Contemporary,Contest,Festival,Halloween. Individual part. 18 pages. Wadley Publications #4638491. Published by Wadley Publications (A0.983172). Nevermore for Unaccompanied Saxophone by Craig Wadley. As this is an unaccompanied piece, ANY saxophone is acceptable. While most soloists will undoubtedly opt to use alto or soprano, the composer welcomes renditions of this piece on any of the larger saxes as well. This piece was inspired by Nevermore: An Evening With Edgar Allen Poe, a single act play featuring Jeffrey Combs. My good friend, Dr. Brent Bristow of Arkansas State University, Beebe, convinced me to go see the play when it was presented there in March of 2018. That performance by the legendary Mr. Combs inspired this piece. Why unaccompanied saxophone? Brent Bristow and I have been close friends since high school, and since he is the one who convinced me to see this show, and given that he plays classical saxophone (yes, that IS a thing!), I figured saxophone would kill two birds with one reed… or something like that. The show itself is a one-man performance, so that’s why this piece is unaccompanied. I toyed with the notion of including some text from the show. Eventually, I decided to go with The Raven, which is featured prominently in Combs’ monologue. But I didn’t want to RELY on The Raven, so I wrote the piece in such a way that it can be performed with OR without the narrator. I took a bit of inspiration from Bach’s cello music and brought in some more modern elements such as shifting meters and limited use of slap-tongue and multiphonics to keep things interesting. No altissimo is used.This work would make for excellent solo repertoire at the collegiate level, while still being potentially accessible to advanced high school players. If the narrator is used, this work would also be great as part of a Halloween/horror variety show!You may note that the mp3 demo preview uses a cello sound (placing the transposition in the range of the baritone sax, though again, any saxophone is acceptable). A cello sound is used because samples of saxophone sounds generally leave much to be desired, and they are most commonly based on jazz tone qualities which would be completely inappropriate for this piece.
Nevermore
Saxophone

$17.99 15.5 € Saxophone PDF SheetMusicPlus

Harp - Level 2 - Digital Download SKU: A0.928333 Composed by Rory Dall. Arranged by Karen Peterson. Celtic,Contemporary,Folk. Score. 4 pages. Karen Peterson #5993785. Published by Karen Peterson (A0.928333). WATCH THE D DORIAN VERSION: You are viewing the arrangement for lap harp, which is in the key of A dorian. To hear the D dorian version played on a larger harp, go to www.youtube.com/watch?v=l0-Kg0LifaUOverview: This tune was published by Daniel Dow in the 1770s and was probably composed by Roderick Morison (~1656-1713). My double-strung harp arrangement in the dorian mode has rolled, echoed chords, highlighting the depth of sound we can get from having two sets of strings. The accompaniment hand traverses the entire range of the harp, often overlapping the melody hand.Key and range: A dorian (one sharp). 21x2 strings. G below middle C through F. (LARGER HARPS: For harps with C below middle C or lower, get the D dorian version here: www.sheetmusicplus.com/title/rorie-lament-for-double-strung-harp-digital-sheet-music/21815669)Lever changes: None.Good for: Performance, memorials, therapeutic settings.Double-strung effects: The LH accompaniment frequently overlaps the RH melody range. Rolled accompaniment chords often contain the same note as the melody, creating a rolled echo. Some chords that aren’t rolled have doubled notes in both hands, creating depth. The repetition of LH patterns makes this a great piece to learn overlapping hands with.Characteristics: Neither hand needs to place more than an octave spread. There are some four-note chords (always LH 1-3-5-8). The RH has almost no chords. Few of the chords are inversions. There are very few sixteenth notes; no more than three played together with one hand. The LH has two long-run patterns (1-5-8-9-10 and 1-5-8-9) which can be played with cross-unders or a wandering thumb. The RH has a few cross-overs/unders.Finger placement: Finger number suggestions are provided for key phrases. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff).Notation: Chord symbols are provided. Treble clef is used for both staves, with 8va for very high notes. Length: 4 pages. 60 measures, plus 12 if you take the repeat. 4 minutes.Page turns: If you are printing, double-side pages 2 and 3 so that there is only one page turn. The RH can be used on all notes of page 2’s last measure, so that the LH can turn the page. If you are using single pages on a tablet, you can do something similar at the end of page 3. Page 1’s turn is manageable. Contact me after purchase if you’d like a version that fits on two pages: EnjoyTheHarp@gmail.com
Rorie Dall's Sister's Lament for Double-strung Lap Harp
Harpe

$4.99 4.3 € Harpe PDF SheetMusicPlus

Piano,Violin - Level 1 - Digital Download SKU: A0.909635 Composed by T.H. Bayly, Jean Jacques Rousseau. Arranged by Christopher A. Sforza. Contemporary,Standards. 21 pages. Christopher A. Sforza #6596439. Published by Christopher A. Sforza (A0.909635). T.H. Bayly's Long, Long Ago and the folk song Go Tell Aunt Rhody (based on the music of Jean Jacques Rousseau), are two classic tunes learned and performed by beginning instrumentalists from around the world.  In Aunt Rhody's Dream, these two melodies come together in a new arrangement for violin ensemble with mixed-level parts.  Violin I, written for beginners, contains the melody overall (except for an instance where it switches to harmony to avoid low first finger patterns).  Violin II, written for intermediate players, contains interesting harmonies and rhythms.  Violin III, written for the advanced player, contains countermelodies and exciting variations on the original theme.  Violin IV is written completely using open pizzicato strings suitable for a very early player.  Included are the violin parts, piano reduction, and score.
Aunt Rhody's Dream
Violon et Piano

$4.95 4.26 € Violon et Piano PDF SheetMusicPlus

Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est nĂ© Ă  Douala en juillet 1929, dans une grande famille oĂą son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunitĂ© d'aller Ă  l'Ă©cole. Admirant son frère aĂ®nĂ©, Marcel Eyidi Bebey, il s'est Ă©duquĂ©, s'est distinguĂ©, et a finalement reçu une bourse pour passer son baccalaurĂ©at en France.Nous approchions de la fin des annĂ©es 1950 lorsqu'il est arrivĂ© Ă  La Rochelle. Plus que jamais, dans cette France oĂą les Africains Ă©taient regardĂ©s avec curiositĂ©, condescendance ou dĂ©dain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalaurĂ©at, puis s'est installĂ© Ă  Paris oĂą il a commencĂ© des Ă©tudes d'anglais Ă  la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son mĂ©tier en France et aux Ă?tats-Unis.Après avoir travaillĂ© quelques annĂ©es comme reporter, il a Ă©tĂ© embauchĂ© en 1961 en tant que fonctionnaire international au DĂ©partement de l'information de l'UNESCO.Parallèlement, Francis a toujours Ă©tĂ© attirĂ© par la crĂ©ation musicale. Son activitĂ© diurne très sĂ©rieuse ne l'empĂŞchait pas de frĂ©quenter les clubs de jazz le soir. Ă? Paris, le jazz, la musique Ă  la mode Ă  cette Ă©poque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait Ă  de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en Ă©coutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionnĂ© pour la guitare, impressionnĂ© par les maĂ®tres espagnols et sud-amĂ©ricains, et a dĂ©cidĂ© d'apprendre Ă  jouer de l'instrument lui-mĂŞme.Il a commencĂ© Ă  composer des pièces pour guitare, mĂŞlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivĂ© le directeur du Centre culturel amĂ©ricain (alors situĂ© dans le quartier de Saint-Germain Ă  Paris), qui lui a offert l'opportunitĂ© de se produire devant un public. Francis y a donnĂ© son premier rĂ©cital de guitare (1963) devant un public hypnotisĂ©. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le dĂ©crivait la presse, sont sortis. Il a Ă©galement Ă©crit des livres, au point que sa carrière artistique est devenue difficile Ă  concilier avec sa carrière de fonctionnaire. En 1974, mĂŞme s'il Ă©tait devenu le directeur gĂ©nĂ©ral chargĂ© de la musique Ă  l'UNESCO, il a fait le saut audacieux et a dĂ©missionnĂ© de cette prestigieuse institution pour se consacrer aux trois activitĂ©s qui l'intĂ©ressaient : la musique, la littĂ©rature et le journalisme.Il a explorĂ© le patrimoine musical traditionnel du continent africain, notamment Ă  travers le piano Ă  pouce sanza et la musique polyphonique des pygmĂ©es d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au BrĂ©sil, du Cameroun Ă  la Suède, de l'Allemagne aux CaraĂŻbes, ou du Maroc au Japon... la liste des pays oĂą il a Ă©tĂ© invitĂ© Ă  se produire, Ă  donner des confĂ©rences ou Ă  rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bĂ©nĂ©ficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le VĂ©nĂ©zuĂ©lien Antonio Lauro, qui l'ont invitĂ© Ă  faire partie du jury d'un concours de guitare classique Ă  Caracas.Sa vie Ă©tait le voyage d'un pionnier africain, un homme enracinĂ© dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalitĂ© continue de rĂ©sonner dans le monde entier depuis son dĂ©cès Ă  la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
Élégie
Guitare

$3.95 3.4 € Guitare PDF SheetMusicPlus

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1251231 Composed by Gus Kahn, Ernie Erdman and Dan Russo. Arranged by F. Leslie Smith. 20th Century,Comedy,Pop,Standards,Traditional. 37 pages. Sweetwater Brass Press #845507. Published by Sweetwater Brass Press (A0.1251231). This song starts with the narrator/lyricist saying that he overheard a guy at the train station trying to say farewell to his girl.  The guy would kiss her, bid her adieu, get on the train, then get off and do the whole thing over again.  And, he did this seven times!  What would he say to her each time?  He’d tell her that he’s leaving, that she shouldn’t cry, that he’ll write and that if she does not hear from him she should assume he’s been arrested.  What a romantic line!     Anyway, that’s the gist of the “Toot, Toot, Tootsie!” lyrics.  Credited to Gus Kahn, Ernie Erdman and Dan Russo, New York City’s Leo Feist, Inc. first published this upbeat, leave-taking song in 1922.  It had been one of 29 numbers featured in the 1921 Broadway production Bombo, a vehicle designed to showcase the talent of Al Jolson.  Six years later Jolson sang it in The Jazz Singer, generally recognized as the first sound feature film.  Additionally, all three composers, plus Ted Fio Rito and Eddie Cantor, also made early and very popular recordings.    This bubbly, cheerful arrangement opens in the key of F major with a suggested tempo of 120 BPM.  After an 8-measure introduction, the piece goes right to the familiar chorus with Trumpet 1 and Trombone switching leads and ending with a wonderful Fillmore-style smear.  The tempo then slows dramatically for a somewhat pensive interpretation of the verse, the narrator’s observations, Horn and Trumpet 1 alternating the lead.  At measure 67 the chorus repeats faster than ever, a recommended 132 BPM, as Trombone and the two Trumpets take turns with the melody.  This leads right into a repeat of the verse—this time played at full speed—and a change of key to D-flat major.  Trombone and Tuba play in unison, exchanging the melody with Trumpets, right on into the third go-round of the chorus.  The piece wraps up with a vaudeville-style conclusion and eventually fades away.  (But don’t miss Trombone's four-measure reference to “Charlottetown Is Burning Down/Goodbye, Liza Jane” at measure 141.)Lots of fun!    Completed in 2023, performance time at the suggested tempo runs about 2 minutes, 47 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
Toot, Toot, Tootsie!
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$6.99 6.02 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
Symphony No. 8 ... City of Light (2011) for chamber orchestra
Orchestre de chambre

$9.99 8.61 € Orchestre de chambre PDF SheetMusicPlus






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