Sheet music

"Danse Macabre" (Opus 40) for Harp & Strings

7 parts30 pages07:303 years ago3,690 views
Violin(3), Viola, Cello, Contrabass, Harp
The "Danse Macabre" (Opus 40) was written as a tone poem for orchestra in 1874 by French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based in an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin. Normally heard as a symphonic performance, this piece is unusual as an arrangement for Harp and Strings however, I created this arrangement to emphasize macabre elements and uniquely dynamic range of the Concert (Pedal) Harp. I took liberal license in my interpretation of the original score, and as such, this arrangement is uniquely my "vision" of how this piece sounds to me.

According to the ancient superstition, "Death" appears at midnight every year on Halloween. Death has the power to call forth the dead from their graves to dance for him while he plays his fiddle (represented by strings on the Swell with its "E-string" tuned to an "E-flat" in an example of scordatura tuning). His skeletons dance for him until the first break of dawn, when they must return to their graves until the next year.

The intrepretation in Measure 25+ is of a solo violin playing the tritone (or "Devil's interval") consisting of an A and an E-flat—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E-flat to create the dissonant tritone. Starting at Measure 173, is a melodic quote of the "Dies irae", a Gregorian chant from the Requiem Mass that is melodically related to the work's second theme. The Dies irae is presented in a major key, which is unusual. The abrupt break in the texture at measure 456 represents the dawn breaking (a cockerel's crow, played on the melody) and the skeletons returning to their graves.

Source: Wikipedia (https://en.wikipedia.org/wiki/Danse_Macabre) and other sources.

I created this arrangement from the orchestral work for Concert (Pedal) Harp & Strings (Violins, Violas, Cellos & Basses).
"Passacaille" (HWV 432) for Harp
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"Passacaille" (HWV 432) for Harp

1 part4 pages06:566 years ago3,686 views
George Frideric Handel, born in Halle, grew up as the son of a barber-surgeon who wanted his boy to study law. Young Handel successfully rebelled, and by 1703 was playing violin and keyboard in Hamburg’s opera orchestra. Handel spent four years it Italy (1706-1710), where he moved amidst the musical elite of the day – meeting Corelli, Scarlatti, and Pasquini – and received the nickname “il caro Sassone” (the dear Saxon).

Back in the days before international copyright laws, any publisher could publish anything they wanted without fear of legal action. Thus, Jeanne Roger of Amsterdam published "surrepticious [sic] and incorrect Copies" of the suites in 1719 without paying or informing the composer. This led Handel to publish the works himself in London in 1720. The Suite in G Suite is one of the grandest and most impressive of the suites. In six movements, the Suite in G minor is much more than a standard-issue set of stylized dance movements. The first movement is an overture in the French style with a massive opening Adagio, followed by a fast and brutal Presto, with a pummeling theme played in thirds, sixths, and octaves. The following movement is a quietly lyrical Andante with a gently embellished melody. The next movement is a propulsive, two-voice Allegro in 3/8 time. The central Sarabande, marked Andante con moto, is an incredibly simple and affecting series of three- and four-voice chords with the melody as the top voice. The Gigue that follows is a hurtling movement in two virtuoso voices. The climax and culmination of the Suite in G minor is the monumental Passacaglia of contrapuntal force majeure.

This passacaglia (Passacaille) derives from a musical form that originated in early seventeenth-century Spain and is still used by contemporary composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple meter.

This Passacaille has become well known as a duo for violin and viola, arranged by the Norwegian violinist Johan Halvorsen.

Although this piece was written for period keyboard, I created this arrangement for Concert (Pedal) Harp and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).
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This concerns one specific score by @Mike Magatagan namely the score https://musescore.com/mike_magatagan/scores/3004231If you click "Download" and choose "PDF including Parts"  the returned document is not a PDF but a "Not Found" error in XML format such as:  <Error><Code>NoSuchKey</Code><Message>The specified key does not exist.</Message><Key>3004231/8628087/18f138fc27/general-parts/score-parts.pdf</Key><RequestId>7C02B5365F83A247</RequestId><HostId>++UrE4WzPLQL6n4nqY64Q5aoi88wzvJjJqfSUqDiw2DSzJYIpfHzp0IE6RMQiDFkoGyv5AujhOA=</HostId></Error> All other export formats work fine.As a test I've downloaded that score in mscz format, opened it up with musescore 2.3.2 and used "Save online" to save it privately into my account (private url https://musescore.com/jeetee/scores/5304581 ). From there I can download the PDF with parts without issues.Mike already tried to "update" his score by resaving the score to his account; we were hoping this would force the musescore server to regenerate this PDF. Alas this seems to not work.Can someone on your end ( @Ximich or @abruhanov probably) debug this and/or force the server to generate that file?Thanks!

Gavotte in F Major for Violin & Viola

2 parts3 pages03:053 years ago3,673 views
Violin, Viola
Giovanni Battista Martini (1706 – 1784), also known as Padre Martini, was an Italian musician.

Grandly and misleadingly called "one of the most famous figures in eighteenth century music" by over-specialized musicologists, Giovanni Battista Martini was an important personality in the narrow confines of Italian music and counterpoint pedagogy. Described as both affable and arrogant, Martini was a supportive and much sought-after teacher; his students included the young Mozart and J.C. Bach.

Martini enjoyed substantial early musical training, but at age 15 he decided he wanted to become a monk and was sent to a monastery. This residency lasted about a year; in late 1722 he returned to his native Bologna to become an organist at the church of St. Francesco. In 1725 he became that church's maestro di cappella, a position he would hold until near the end of his long life. He was ordained a priest in 1729.

Padre Martini's first published works appeared in 1734, a collection called Litaniae atque antiphonae finales Beatae Virginis Mariae; after this liturgical beginning, Martini would eventually publish three collections of secular music.

Among his honors were election to the Academy of the Bologna Institute of Science in 1758, the Bologna Philharmonic Academy (in the same year), and the Arcadian Academy in Rome in 1776. He was offered jobs at the Vatican and perhaps in Padua, but Martini preferred his employment in Bologna; indeed, his trips out of town were few and far between.

He was a hard worker and easily likable, inspiring great affection in personalities as different as Mozart and Charles Burney. Yet he was also in many respects an adamant musical reactionary, resisting French innovations in music theory and the progressive tendencies of even his fellow-countryman Tartini (with whom he nonetheless remained on cordial terms). His fees from teaching counterpoint and singing enabled him to amass a huge personal music library (perhaps 17,000 volumes by 1770), as well as a collection of 300 portraits of musicians; eventually, getting one's portrait into Martini's hands was equivalent to a modern Hollywood celebrity having "arrived" by getting a set of footprints onto the Walk of Fame.

Martini wrote extensively on ancient Greek music and plainchant (which he considered to be a particularly expressive form of music), and published a volume of excerpts for the teaching of advanced counterpoint. His own music, however, was largely homophonic, skewed to high voices. A major exception to this tendency was his 1742 Sonate d'intavolatura, which employed a rich counterpoint suggesting a familiarity with Bach.

Although originally written for Viol a de Gamba and Continuo, I created this arrangement for Violin & Viola.

"Konzertstück" (Opus 114 No. 2) for Clarinets & Piano

3 parts21 pages07:335 years ago3,597 views
Clarinet(2), Piano
Jakob Ludwig Felix Mendelssohn Bartholdy (1809 – 1847), born, and generally known in English-speaking countries, as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period.

Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn's name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand. A true apotheosis of life, Mendelssohn's music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night's Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844). While the sunny disposition of so many of Mendelssohn's works has led some to view the composer as possessing great talent but little depth, his religious compositions -- particularly the great oratorios Paulus (1836) and Elijah (1846) -- reflect the complexity and deeply spiritual basis of his personality.

In December 1832 and January 1833, Mendelssohn wrote a pair of works for a trio of clarinet, piano, and the now nearly arcane basset horn: the Concert Piece No. 1 in F major, Op. 113, and the Concert Piece No. 2 in D minor, Op. 114. Mendelssohn dispatched these two works immediately upon completion to clarinetist Heinrich Baermann and his son Carl, a basset horn player, who were touring Germany and Russia at the time. As tokens of the composer's personal friendship with the Baermanns (and his desire to help young Carl establish his career as a professional composer), the two Concert Pieces stand as the only compositions for basset horn in Mendelssohn's oeuvre.

The piece under consideration here, the first in Op. 113, is cast in three brief movements. The first, marked Allegro con fuoco, begins and ends with dramatic recitative-like exchanges between the clarinet and basset horn, establishing a vocally oriented approach to melody. The alternately turbulent and triumphant middle section demonstrates Mendelssohn's characteristic knack for creating textural interplay between monodic instrumental lines and piano accompaniment. The Andante middle movement finds the two woodwinds more closely allied, following tranquil melodies in lush, parallel thirds and sixths above a gentle pitter-patter of piano arpeggios. The pensive minor-mode stirrings that open the final movement cast a temporary shadow over the tranquil glow of the slow movement's final strains, but after a few uneasy recitative exchanges and a chromatic buildup, the clouds part for a playful Presto. The woodwinds assume a more extrovert, sometimes even playfully competitive character here, tossing rapid figurations and scales back and forth, facing off with breakneck runs in contrary motion -- one imagines the seasoned performer Heinrich Baermann and the young up-and-comer Carl bringing this piece to a rousing close.

Although originally created for Bb Clarinet, Basset Horn and Piano, I created this arrangement for Bb Clarinets (2) and Piano.

"Sheep May Safely Graze" Ensemble for Organ & Choir

4 parts12 pages04:237 years ago3,586 views
"Schafe können sicher weiden" (or "Sheep may safely graze") is taken from Aria 5 (the most familiar part of the cantata) of Johann Sebastian Bach's BWV 208: Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), also known as the Hunting Cantata. It is a secular cantata composed in 1713 by Bach for the 31st birthday of Duke Christian of Saxe-Weissenfels. This arrangement adds a 3-4 part english language choir. Best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software.
"Hark! the Herald Angels Sing" for Small Orchestra
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"Hark! the Herald Angels Sing" for Small Orchestra

11 parts11 pages03:154 years ago3,559 views
Trumpet(2), French Horn, Trombone, Tuba, Violin(2), Viola, Cello, Contrabass, Piano
Hark! The Herald Angels Sing" is a Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems, having been written by Charles Wesley. A somber man, Wesley had requested and received slow and solemn music for his lyrics, not the joyful tune expected today. Moreover, Wesley's original opening couplet is "Hark! how all the welkin rings / Glory to the King of Kings".

The popular version is the result of alterations by various hands, notably by Wesley's co-worker George Whitefield who changed the opening couplet to the familiar one, and by Felix Mendelssohn. A hundred years after the publication of Hymns and Sacred Poems, in 1840, Mendelssohn composed a cantata to commemorate Johann Gutenberg's invention of the printing press, and it is music from this cantata, adapted by the English musician William H. Cummings to fit the lyrics of “Hark! The Herald Angels Sing”, that propels the carol known today.

In 1855, English musician William H. Cummings adapted Felix Mendelssohn's secular music from Festgesang to fit the lyrics of "Hark! The Herald Angels Sing" written by Charles Wesley. Wesley envisioned the song being sung to the same tune as his song "Christ the Lord Is Risen Today", and in some hymnals that tune is included for "Hark! The Herald Angels Sing" along with the more popular Mendelssohn-Cummings tune.

At the request of a follower, I created this arrangement of my earlier arrangement (http://musescore.com/mike_magatagan/scores/26687) for a Modern Small (school) Orchestra (Bb Trumpets, Flugelhorn, French Horn, Trombones, F Tuba, 2 Violins, Violas, Cellos & Basses).

"America the Beautiful" Duet for Piano & Organ

2 parts2 pages01:587 years ago3,551 views
A piano and church organ duet arranged for the Sierra Vista United Methodist Church (SVUMC) is inspired from "America the Beautiful" an American patriotic song. The lyrics to this beautiful song were written by Katharine Lee Bates (1859-1929), a professor of English literature at Wellesley College, Massachusetts, after an inspiring trip to the top of Pikes Peak, Colorado in 1893. Her poem, America the Beautiful first appeared in print in The Congregationalist, a weekly journal, on July 4, 1895. The music (from a piece named "Materna,") was composed by Samuel A. Ward in 1882, nearly a decade before the poem was written. Best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Up from the Grave He Arose!" (UMH # 322) for Children's Handbell Choir

1 part1 page01:263 years ago3,550 views
Percussion
The gospel tune "Up from the Grave He Arose!" was written by Robert Lowery in 1874 and captures well the drama of Christ's resurrection with the ascending ("rocket") figures in the refrain. Undoubtedly, the refrain line has greatly enhanced this hymn's popularity. Sing in harmony with crisp rhythms and marcato accompaniment on the refrain. After the final stanza hold back the tempo on the last line of the refrain.

Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister.

I created this simplified arrangement for the Sierra Vista United Methodist Church (SVUMC) in Sierra Vista, Arizona. The piece covers just over 3 octaves and is designed for five (5) members of the Children's Handbell Choir. The purpose of this arrangement is to introduce the children to the basic concepts of ringing, note reading, timing and teamwork. This piece is best played using the "HandBells.sf2" Soundfont by FMJ Software (http://www.fmjsoft.com/siframe.html).

"Hallelujah, Amen" from "Judas Maccabaeus" (HWV 63) for Piano & String Quartet

5 parts5 pages01:254 years ago3,548 views
Violin(2), Viola, Cello, Piano
"Judas Maccabaeus" (HWV 63) is an oratorio in three acts composed in 1746 by George Frideric Handel based on a libretto written by Thomas Morell. The oratorio was devised as a compliment to the victorious Prince William Augustus, Duke of Cumberland upon his return from the Battle of Culloden (16 April 1746). Other catalogues of Handel's music have referred to the work as HG xxii; and HHA 1/24. Morell's libretto is based on the deuterocanonical 1 Maccabees (2-8), with motives added from the Antiquitates Judaicae by Flavius Josephus.

The events depicted in the oratorio are from the period 170-160 BC when Judea was ruled by the Seleucid Empire which undertook to destroy the Jewish religion. Being ordered to worship Zeus, many Jews obeyed under the threat of persecution, however some did not. One who defied was the elderly priest Mattathias who killed a fellow Jew who was about to offer a pagan sacrifice. After tearing down a pagan altar, Mattathias retreated to the hills and gathered others who were willing to fight for their faith.

"Hallelujah, Amen" is from ACT III depicting Victory that has finally been achieved for the Jewish people. News arrives that Rome is willing to form an alliance with Judas against the Seleucid empire. The people rejoice that peace has at last come to their country (O lovely peace).

Although originally written for Opera, I created this arrangement for Acoustic Piano & String Quartet (2 Violins, Viola & Cello).

Adagio from the Oboe Concerto in D Minor for Viola & Harp

2 parts3 pages04:124 years ago3,489 views
Viola, Harp
Alessandro Marcello (1669 - 1747) was an Italian nobleman, poet, philosopher, mathematician and musician. A contemporary of Tomaso Albinoni, Marcello was the son of a senator in Venice. As such, he enjoyed a comfortable life that gave him the scope to pursue his interest in music. He held concerts in his hometown and also composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello, being a slightly older contemporary of Antonio Vivaldi, often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747.

The Concerto for Oboe and Strings in D minor by Alessandro Marcello is one of the most performed oboe concertos in the repertory. It was written in the early 18th century and has become Marcello's most famous work. In the past, and continuing to the present, it has been mistakenly attributed to both Alessandro Marcello's brother Benedetto Marcello and to Antonio Vivaldi. Johann Sebastian Bach made the piece famous by writing a transcription of the piece in C minor for harpsichord (BWV 974).

I took creative license with this piece and adapted the Adagio (movement II) for Viola & Concert (Pedal) Harp.

"Star of the County Down" for Flute & Harp

2 parts5 pages02:136 years ago3,470 views
Flute, Harp
"Star of the County Down" is an old Irish ballad set near Banbridge in County Down, in Northern Ireland. The tune is a pentatonic melody, similar to that of several other works, including the almost identical English tune "Kingsfold", well known from several popular hymns, such as "Led By the Spirit". The folk tune was the basis for Ralph Vaughan Williams' Five Variants of Dives and Lazarus.

The melody was also used in an old Irish folk song called "My Love Nell". The lyrics of "My Love Nell" tell the story of young man who courts a girl but loses her when she emigrates to America. The only real similarity with "Star of the County Down" is that Nell too comes from County Down. This may have inspired McGarvey to place the heroine of his new song in Down as well (McGarvey was from Donegal).

"The Star of the County Down" uses a tight rhyme scheme. Each stanza is a double quatrain, and the first and third lines of each quatrain have an internal rhyme on the second and fourth feet: [aa]b[cc]b. The refrain is a single quatrain with the same rhyming pattern.

The song is sung from the point of view of a young man who chances to meet a charming lady by the name of Rose (or Rosie) McCann, referred to as the "star of the County Down". From a brief encounter the writer's infatuation grows until, by the end of the ballad, he imagines wedding the girl.

Although this piece was originally written for traditional folk instruments, I arranged it for Flute and Celtic or Concert (Pedal) Harp

The Trumpet Shall Sound (From Handel's "Messiah Oratorio" HWV 56, Part III, Scenes I and II)

14 parts51 pages05:472 years ago573 views
Voice, Trumpet(2), French Horn(2), Flute(2), Clarinet(2), Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tuba
All credit for writing "The Trumpet Shall Sound" goes to my friend, Mike Magatagan [GO CHECK HIS ACCOUNT OUT! musescore.com/mike_magatagan]. I arranged the pitch and the Intro [Behold, I Shew You A Mysery].

"Worthy is the Lamb" (HWV 56 No 53) for Piano

1 part4 pages04:133 years ago3,427 views
Piano
The "Messiah" (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the Psalms included with the Book of Common Prayer (which are worded slightly differently from their King James counterparts). It was first performed in Dublin on 13 April 1742, and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Handel's reputation in England, where he had lived since 1713, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s, in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of conventional opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah, moving from the prophetic phrases of Isaiah and others, through the Incarnation, Passion and Resurrection of Christ to his ultimate glorification in heaven.

Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards authenticity; most contemporary performances show a greater fidelity towards Handel's original intentions, although "big Messiah" productions continue to be mounted.

The three-part structure of the work approximates to that of Handel's three-act operas, with the "parts" subdivided by Jennens into "scenes". Each scene is a collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening Sinfony in the style of a French overture, and the pastoral Pifa, often called the "pastoral symphony", at the mid-point of Part I.


By the time Handel composed Messiah in London he was already a successful and experienced composer of Italian operas, and had created sacred works based on English texts, such as the 1713 Utrecht Te Deum and Jubilate, and numerous oratorios on English libretti. For Messiah, Handel used the same musical technique as for those works, namely a structure based on chorus and solo singing.

Worthy is the Lamb is the final chorus of the Oratorio (Part III Scene IV #53): "Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen." (Revelation 5:12-14)

Although originally written for oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon, trumpets, timpani and Chorus (SATB), I created this arrangement for Solo Acoustic Piano.

"Trotto" for Flute & Strings

4 parts3 pages01:345 years ago3,421 views
Flute, Violin, Viola, Cello
Very little evidence survives about medieval dance except what can be gleaned from paintings and works of literature from this time period. Some names of the dances which we know existed during the Middle Ages.

Usually attached to the spirited skipping dance known as a "saltarello," the trotto is a Medieval dance that existed in many European countries. A particularly lively and fascinating trotto, often performed by instrumental groups dedicated to authentic historical reconstruction, comes from fourteenth-century manuscripts.

The tune is joyfully infused with the triple meter swing of the type of music that depicts horse riding and the fox hunt ("trotto" is Italian for the verb "to trot"). The melody is in a pure Aeolian (minor) mode, usually played here on the tonic of C.

The dancers must have had a wonderful time keeping up with all the asymmetrical rhythmical surprises and turn-arounds producing a feeling of floating "over the beat."

Although originally written for period instruments & percussion I created this arrangement for Flute and Strings (Violin, Viola & Cello).

"2 Christmas Songs" for Piano

1 part2 pages02:245 years ago3,410 views
Franz Xaver Engelhart (1861 - 1924) was a German Catholic priest, church musician, choir director and, composer. He first attended elementary school in Geiselhoering, and later from 1872 to 1882, the old high school in Regensburg. From 1882 to 1887, he studied at the Lyceum (the later philosophical and theological college) in Regensburg theology.

From 1891 until his death in 1924, he served as Director of Music at the Regensburg Cathedral The Regensburg Cathedral Choir , with whom he formed the first major concert tour to Prague took. From 1903 on, he was also the diocesan Church President General Cecilia Association of the Diocese of Regensburg.

Although he composed 102 sacred works, few are ever heard. In his time, they were believed to be too sentimental. However, many of his songs in the 1930s to the 1950s became folk songs. "Die Marienlieder Hell leuchtet ein Sternlein", "Wenn ich ein Glöcklein wär", and "Maria Rosenkranzkönigin" were sung in that time. His secular compositions were characterized by a fine sense of humor. Especially his steam-rolling song was very popular back then. Among the best known Engelhart compositions are "Wenn ich ein Glöcklein wär" or "Das Ave-Maria-Glöcklein".

Although "2 Weihnachtslieder" (2 Christmas Songs") was originally an accompanied choral work (SATB), I created this arrangement of both the No. 1 "Die Hirten bei der Krippe" (“The shepherds at the manger”) and No. 2 "Sei willkommen" ("You're Welcome”) songs for Solo Acoustic Piano and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"What a Friend We Have in Jesus" Duet for Piano and Organ

2 parts3 pages03:057 years ago3,402 views
A piano and organ duet arranged for the Sierra Vista United Methodist Church (SVUMC) from the United Methodist Church Hymnal #526. "What a Friend We Have in Jesus" is a Christian hymn originally written by Joseph M. Scriven as a poem in 1855 to comfort his mother who was living in Ireland while he was in Canada. Scriven originally published the poem anonymously, and only received full credit for it in the 1880s.[1] The tune to the hymn was composed by Charles Crozat Converse in 1868. This duet is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Rondo Alla Turca" (K. 331 No. 11 Mvt. 3) for Steel Orchestra

5 parts6 pages03:584 years ago3,386 views
The Piano Sonata No. 11 in A major, K. 331 (300i), by Wolfgang Amadeus Mozart is a piano sonata in three movements. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested).

The last movement, "Alla Turca", popularly known as the "Turkish March", is often heard on its own and is one of Mozart's best-known piano pieces; it was Mozart himself who titled the rondo "Alla Turca". It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Various other works of the time imitate this Turkish style, including Mozart's own opera Die Entführung aus dem Serail. In Mozart's time, the last movement was sometimes performed on pianos built with a "Turkish stop", allowing it to be embellished with extra percussion effects.

Although originally written for Piano, I created this Arrangement for my friend and Pastor Julian J. Champion of the West Point School of Music located in Chicago IL. It has a single purpose for making music accessable to inner-city and disadvantaged youth. They are a struggling organization with a wonderful purpose. This arrangement is created for Steel Orchestra (Lead Pan, Double Lead, Alto Pan, Cello Pan & Bass Pan) Steel Drums and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software (http://www.schristiancollins.com/generaluser.php).

"Rondo Alla Turca" (K. 331 No. 11 Mvt. 3) for String Quintet

5 parts6 pages04:013 years ago3,362 views
Violin(3), Viola, Cello
The Piano Sonata No. 11 in A major, K. 331 (300i), by Wolfgang Amadeus Mozart is a piano sonata in three movements. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested).

The last movement, "Alla Turca", popularly known as the "Turkish March", is often heard on its own and is one of Mozart's best-known piano pieces; it was Mozart himself who titled the rondo "Alla Turca". It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Various other works of the time imitate this Turkish style, including Mozart's own opera Die Entführung aus dem Serail. In Mozart's time, the last movement was sometimes performed on pianos built with a "Turkish stop", allowing it to be embellished with extra percussion effects.

Although originally written for Piano, I created this Arrangement at the request of a school group's String Quintet (3 Violins, Viola & Cello).

"Dance of the Sugar Plum Fairy" from the Nutcracker Suite (Opus 71a Mvt. 3) for Small Orchestra

11 parts10 pages02:05a year ago3,349 views
Flute, Oboe, Clarinet, French Horn, Bassoon, Percussion, Violin(2), Viola, Cello, Contrabass
Pyotr Ilyich Tchaikovsky (1840 - 1893) was a Russian composer who lived in the Romantic period. He is one of the most popular of all Russian composers. He wrote melodies which were usually dramatic and emotional. He learned a lot from studying the music of Western Europe, but his music also sounds very Russian. His compositions include 11 operas, 3 ballets, orchestral music, chamber music and over 100 songs. His famous ballets (Swan Lake, The Nutcracker and Sleeping Beauty) have some of the best known tunes in all of romantic music.

The "Dance of the Sugar Plum Fairy" is a dance for a ballerina. It is the third movement in The Nutcracker pas de deux. This pas de deux is from Act 2 of the 1892 ballet The Nutcracker. It is danced by the principal female dancer. The number was choreographed by Lev Ivanov to music written by Tchaikovsky.

Choreographer Marius Petipa wanted the Sugar Plum Fairy's music to sound like "drops of water shooting from a fountain". Tchaikovsky found the ideal instrument to do this job in Paris in 1891. It was then that he came across the recently invented celesta. This instrument looked like a piano. It sounded like bells. Tchaikovsky wrote, "[The celesta is] midway between a tiny piano and a Glockenspiel, with a divinely wonderful sound." He wanted to use the celesta in The Nutcracker. He asked his publisher to buy one. He wanted to keep the purchase a secret. He did not want other Russian composers to "get wind of it and ... use it for unusual effects before me."

Tchaikovsky introduced the celesta to Russian music lovers on 19 March 1892 when the Nutcracker Suite was performed for the Russian Musical Society in St. Petersburg. The instrument is forever identified with the Sugar Plum Fairy. It is heard in other parts of Act 2 of The Nutcracker besides the Sugar Plum Fairy's dance. The "Dance of the Sugar Plum Fairy" is one of the ballet's best known musical numbers. It is often "jazzed up" for television commercials at Christmas time.

Source: Wikipedia (https://simple.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky).

Although originally created for Orchestra, I created this Transcription of the "Dance of the Sugar Plum Fairy" from the Nutcracker Suite (Opus 71a Mvt. 3) for Small Orchestra (Flutes, Oboes, Bb Clarinets, French Horns, Bassoons, Celesta, Violins, Violas, Cellos & Bass).