CHOIR - VOCALJean, François-Xavier

Jean, François-Xavier: Pink cyst pink Op.9.No.1
page 1
Jean, François-Xavier - Pink cyst pink Op.9.No.1

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Composer :François-Xavier JeanJean, François-Xavier (1953 - )
Instrumentation :

Symphonic orchestra and choral Aahs

Style :

Early 20th century

Date :déc. 2011
Copyright :déc. 2011 © Sacem - Creative Commons by-nc-nd 3.0
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Comment posted the 12/26/2011, by francois-xavier-jean
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Merci José Ramon, j'étais tellement excité que mes doigts n'ont pas trouvé la parenthèse. J'espère que ma musique t'a plu un peu. Amicalement. François. José Ramón, gracias, yo estaba tan emocionado que mis dedos no han encontrado el paréntesis. Espero que hayan disfrutado mi música un poco. De forma amistosa. François.


Comment posted the 12/25/2011, by jose-sainz
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Equation matematique est (a+b)carrée=a2+2ab+b2


Comment posted the 12/23/2011, by francois-xavier-jean
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Hi Aaron, I did not accidentally doubled the third or fourth in the violin part. When I compose, I built a melody that passes between the voice, nothing more. It's sort of content except that this "content" does not belong to one vote, but all voices. For the rest, I use rich intervals, extracted from the "golden number (Fibonacci series)." My next work is going away for a time the "divine proportion" and focus on the remarkable identities: (a + b2 = a2 + 2 ab + b2)). Of course the numbers of the mathematical equation will be transformed into interval. But hey, it will take a little. See you soon, my friend Aaron, pleased to read you. François. Bonjour Aaron, je n'ai pas accidentellement doublé les tierces ou les quartes dans les parties de violons. Lorsque je compose, je construit une mélodie qui passe entre les voix, rien de plus. C'est une sorte de teneur sauf que cette ?teneur? n'appartient pas à une voix mais à toutes les voix. Pour le reste, j'utilise des intervalles riches, extraits du ?nombre d'or (série de Fibonacci)?. Ma prochaine oeuvre va délaisser pour un temps la ?divine proportion? et s'intéresser aux identités remarquables: (a + b2 = a2 + 2 ab + b2)). Bien sûr les nombres de cette équation mathématique seront transformé en intervalle. Mais bon, il faudra attendre un peu. A bientôt, mon cher Aaron, le plaisir de te lire. François.


Comment posted the 12/23/2011, by aaron-cotton
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Ah, Francois, a bouquet for the ears, again. Though your blossom is a bit too strong in consonant harmonics to warrant such strong fortissimo. This piece, as innovative as it is sensitive, haunts my sensibilities. Whether you intended to suspend the melodic lines over your modal writing, thus increasing the accretion of volume, the result is somewhat overbearing, to me. Did you accidentally double any thirds on the strings? There much to watch in music---we would all be mad in the end! But I adore the almost bravura quality of this song.


Comment posted the 12/22/2011, by francois-xavier-jean
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Bonsoir Alain, mais oui, bien sûr que tu as raison. j'oublie le mode de ?fa?, le mode majeur le plus éclatant et le plus ouvert. Je suis heureux que tu écoutes ma musique même si je trouve qu'elle ne se renouvelle pas assez à mon goût. J'ai l'impression de me copier moi-même, de ne plus rien inventer. Tiens, je vais reprendre mes petites recherches des années passées où je transformais les produits remarquables en intervales. Merci encore de ton généreux. A très bientôt le plaisir de te lire . François. Good evening Alain, yes, of course you're right. I forget the mode of "fa", the major mode the brightest and most open. I'm glad you listen to my music even though I find it is recharged enough for my taste. I feel like I am copying myself, not to invent anything. Here, I'll take my little research of past years where I process the products remarkable intervals. Thank you again for your generosity. See you soon the pleasure to read you. François.


Comment posted the 12/22/2011, by aprl
I second Aaron about your sens of melody but François, I disagree about the sadness of modes:some are brightsuch as the lydian mode which is even brighter than our majeur scale


Comment posted the 12/22/2011, by francois-xavier-jean
Hello Aaron, we say that modal music is much richer than tonal music because it has 7 scales (c - d - e - f - g - a - h) instead of two (major and minor). It's true. The modal is sad, you are right and to clarify, make it happy, you must add 1 # or 1 b, sometimes more. I rarely concern to what level I was. I sing every line, chromaticism is a need to revitalize the melody, it is an integral part of his life. The golden, place voice after voice is invaluable. Thank you a thousand times for your valuable comments. François. Hello Aaron, on dit que la musique modale est beaucoup riche que la musique tonale car elle possède 7 échelles (c - d - e - f - g - a - h) au lieu de 2 (majeur et mineur). C'est vrai. Le modal est triste, tu as bien raison et pour l'éclaircir, le rendre plus joyeux, il faut rajouter 1 # ou 1 b, parfois d'avantage. Je me suis rarement préoccupé de savoir dans quelle échelle j'étais. Je fais chanter chaque ligne, le chromatisme est un besoin de revitaliser la mélodie, il fait partie intégrante de sa vie. Le nombre d'Or, déroulé voix après voix est une aide précieuse. Merci mille fois de tes précieux commentaires. François.


Comment posted the 12/22/2011, by aaron-cotton
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Your understanding of melody is extremely sophisticated, Francois. Your utilization of modal harmonics is a treat to hear every time you share with us a Promethean composition. This wonderful postlude (which I assume shall complete "The Little Match Girl") gleams and glistens against a stable firm ground. It may be, technically speaking, the best in the group. It sounds aggregate, in form; increasing in values from interval to interval and back around again. I adore your sensitive touch. It is refreshing, yet there is still a residue of sadness and grief inherent in the harmonies. A fey, through-composed collection, Francois. Bis!


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