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Angel of Music
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The Year of the Trumpeter (piano reduction)
Trompette, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sac…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009. <br> <br> Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.<br> <br> Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society’s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.<br> <br> Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.<br> <br> Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.<br> <br> Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$15.00
13.86 €
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Trompette, Piano
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
Angel Of Music (from The Phantom Of The Opera)
Piano Facile
Digital Download SKU: HX.415786 Broadway,Musical/Show. Super Easy Piano. 2 pages. D…
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Digital Download SKU: HX.415786 Broadway,Musical/Show. Super Easy Piano. 2 pages. Duration 195. Published by Hal Leonard - Digital (HX.415786).
$3.99
3.69 €
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Piano Facile
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Angel Of Music
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Hal Leonard - Digital
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.98 €
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
(+)
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.98 €
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Piano seul
#
Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Christmas Angel Medley
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Traditional Carols. Arranged…
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Piano Solo - Intermediate - Digital Download Composed by Traditional Carols. Arranged by Michael Ware. Christian, Sacred, General Worship, Christmas, Recital. 5 pages. Published by MusicWare Press
Christmas Angel Medley is Michael Ware's arrangement of Angels We Have Heard on High with Hark! the Herald Angels Sing. This energetic piece would make a great prelude or postlude in worship or a festive recital selection.
$4.99
4.61 €
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Piano seul
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Traditional Carols
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Michael Ware
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Christmas Angel Medley
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SheetMusicPlus
"Next: Reprise" Track 8. Next: The Musical (A Sidekick Story)
Alto Voice,Piano,Soprano voice,Tenor Voice - Digital Download SKU: A0.1068592 Compo…
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Alto Voice,Piano,Soprano voice,Tenor Voice - Digital Download SKU: A0.1068592 Composed by Angela Fox. Broadway,Children,Contemporary,Musical/Show. Full Performance. Duration 70. Angela Fox #3895873. Published by Angela Fox (A0.1068592). Original Cast Recording of Next: The Musical (A Sidekick Story). Winner of two Fringe Festival Awards!Next- Zoey and EnsembleMe and My Shelf- Zoey and EnsembleI'm So Cold- Zoey and AbbyNervous- ZoeySpelling Bee- Abby and EnsembleShadowbox- Zoey and NarratorThe Girl That No One Knows- Abby, Zoey, and EnsembleNext Reprise- Zoey, Abby, Narrator, and EnsembleDo you ever feel like the sidekick in your friendship? Has your name tag ever been printed Jamie's friend? Is your Instagram full of pictures of your friends and.. your elbow. You may be suffering from sidekick-itis. But there is a cure! Sing along with the original cast of Next: The Musical (A Sidekick Story), a kid's musical from the sidekick's point of view. Great for all ages!Next is a heartfelt and honest musical comedy about issues we all face in our lives. It follows the friendship between Zoey, a shy girl who often feels unnoticed, and her best friend Abby, the girl that everyone knows and loves.Original Cast: Zoey: Honora Smith Abby: RoRo Germ Narrator: Angela Fox Hilary: Ellen Orzoff Janelle: Abbey Bortel Nicole: Zoey Corsaro Vernon: Jacob McKinney Written by Tim Wick, Jason Kruger and Angela Fox Music and lyrics by Angela Foxhttp://www.angelafoxmusic.com/theater-and-film.html
$1.99
1.84 €
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Angela Fox
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"Next: Reprise" Track 8. Next: The Musical
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Angela Fox
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SheetMusicPlus
"Me and My Shelf" Track 2. Next: The Musical (A Sidekick Story)
Alto Voice,Piano,Soprano voice,Tenor Voice - Digital Download SKU: A0.1068585 Compo…
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Alto Voice,Piano,Soprano voice,Tenor Voice - Digital Download SKU: A0.1068585 Composed by Angela Fox. Broadway,Children,Contemporary,Musical/Show. Full Performance. Duration 229. Angela Fox #3895861. Published by Angela Fox (A0.1068585). Original Cast Recording of Next: The Musical (A Sidekick Story). Winner of two Fringe Festival Awards! Next- Zoey and Ensemble Me and My Shelf- Zoey and Ensemble I'm So Cold- Zoey and Abby Nervous- Zoey Spelling Bee- Abby and Ensemble Shadowbox- Zoey and Narrator The Girl That No One Knows- Abby, Zoey, and Ensemble Next Reprise- Zoey, Abby, Narrator, and EnsembleDo you ever feel like the sidekick in your friendship? Has your name tag ever been printed Jamie's friend? Is your Instagram full of pictures of your friends and.. your elbow. You may be suffering from sidekick-itis. But there is a cure! Sing along with the original cast of Next: The Musical (A Sidekick Story), a kid's musical from the sidekick's point of view. Great for all ages!Next is a heartfelt and honest musical comedy about issues we all face in our lives. It follows the friendship between Zoey, a shy girl who often feels unnoticed, and her best friend Abby, the girl that everyone knows and loves.Original Cast: Zoey: Honora Smith Abby: RoRo Germ Narrator: Angela Fox Hilary: Ellen Orzoff Janelle: Abbey Bortel Nicole: Zoey Corsaro Vernon: Jacob McKinney Written by Tim Wick, Jason Kruger and Angela Fox Music and lyrics by Angela Foxhttp://www.angelafoxmusic.com/theater-and-film.html
$1.99
1.84 €
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Angela Fox
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"Me and My Shelf" Track 2. Next: The Musical
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Angela Fox
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SheetMusicPlus
"Shadowbox" Track 6. Next: The Musical (A Sidekick Story)
Alto Voice,Piano,Soprano voice - Digital Download SKU: A0.1068590 Composed by Angel…
(+)
Alto Voice,Piano,Soprano voice - Digital Download SKU: A0.1068590 Composed by Angela Fox. Broadway,Children,Contemporary,Musical/Show. Full Performance. Duration 198. Angela Fox #3895869. Published by Angela Fox (A0.1068590). Original Cast Recording of Next: The Musical (A Sidekick Story). Winner of two Fringe Festival Awards! Next- Zoey and Ensemble Me and My Shelf- Zoey and Ensemble I'm So Cold- Zoey and Abby Nervous- Zoey Spelling Bee- Abby and Ensemble Shadowbox- Zoey and Narrator The Girl That No One Knows- Abby, Zoey, and Ensemble Next Reprise- Zoey, Abby, Narrator, and EnsembleDo you ever feel like the sidekick in your friendship? Has your name tag ever been printed Jamie's friend? Is your Instagram full of pictures of your friends and.. your elbow. You may be suffering from sidekick-itis. But there is a cure! Sing along with the original cast of Next: The Musical (A Sidekick Story), a kid's musical from the sidekick's point of view. Great for all ages!Next is a heartfelt and honest musical comedy about issues we all face in our lives. It follows the friendship between Zoey, a shy girl who often feels unnoticed, and her best friend Abby, the girl that everyone knows and loves.Original Cast: Zoey: Honora Smith Abby: RoRo Germ Narrator: Angela Fox Hilary: Ellen Orzoff Janelle: Abbey Bortel Nicole: Zoey Corsaro Vernon: Jacob McKinneyVoice Over: Dawn Krosnowski Written by Tim Wick, Jason Kruger and Angela Fox Music and lyrics by Angela Foxhttp://www.angelafoxmusic.com/theater-and-film.html
$1.99
1.84 €
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Angela Fox
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"Shadowbox" Track 6. Next: The Musical
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Angela Fox
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SheetMusicPlus
"Nervous" Track 4. Next: The Musical (A Sidekick Story)
Alto Voice,Piano,Soprano voice - Digital Download SKU: A0.1068586 Composed by Angel…
(+)
Alto Voice,Piano,Soprano voice - Digital Download SKU: A0.1068586 Composed by Angela Fox. Broadway,Children,Contemporary,Musical/Show. Full Performance. Duration 123. Angela Fox #3895865. Published by Angela Fox (A0.1068586). Original Cast Recording of Next: The Musical (A Sidekick Story). Winner of two Fringe Festival Awards! Next- Zoey and Ensemble Me and My Shelf- Zoey and Ensemble I'm So Cold- Zoey and Abby Nervous- Zoey Spelling Bee- Abby and Ensemble Shadowbox- Zoey and Narrator The Girl That No One Knows- Abby, Zoey, and Ensemble Next Reprise- Zoey, Abby, Narrator, and EnsembleDo you ever feel like the sidekick in your friendship? Has your name tag ever been printed Jamie's friend? Is your Instagram full of pictures of your friends and.. your elbow. You may be suffering from sidekick-itis. But there is a cure! Sing along with the original cast of Next: The Musical (A Sidekick Story), a kid's musical from the sidekick's point of view. Great for all ages!Next is a heartfelt and honest musical comedy about issues we all face in our lives. It follows the friendship between Zoey, a shy girl who often feels unnoticed, and her best friend Abby, the girl that everyone knows and loves.Original Cast: Zoey: Honora Smith Abby: RoRo Germ Narrator: Angela Fox Hilary: Ellen Orzoff Janelle: Abbey Bortel Nicole: Zoey Corsaro Vernon: Jacob McKinney Written by Tim Wick, Jason Kruger and Angela Fox Music and lyrics by Angela Foxhttp://www.angelafoxmusic.com/theater-and-film.html
$1.99
1.84 €
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Angela Fox
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"Nervous" Track 4. Next: The Musical
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Angela Fox
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SheetMusicPlus
Hymne (Vangelis): Trio for Flute, Violin and Piano
Flûte, Violon, Piano
By Vangelis. Arranged by John A. Dempsey. Score, Set of Parts. 18 pages. Published by …
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By Vangelis. Arranged by John A. Dempsey. Score, Set of Parts. 18 pages. Published by John A. Dempsey
A trio for flute, violin and piano, this inspirational, exhilarating music was written by Vangelis, the composer of "Chariots of Fire." Moving, multifaceted and memorable, "Hymne" is recommended for concerts, recitals and especially worship events and church services, as a prelude, special music, an offertory or silent prayer accompaniment. For weddings, "Hymne" is popular as unity candle music and/or a bridesmaid processional. 14 pages of music (that includes separate two-page pullout parts for flute and violin). Key: G major. Flute and Violin Level: Intermediate. Piano Level: Late Intermediate.
$12.99
12 €
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Flûte, Violon, Piano
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Vangelis
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John A
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Hymne
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John A. Dempsey
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SheetMusicPlus
Chariots Of Fire (Trio for Flute, Violin and Piano)
Flûte, Violon, Piano
By Vangelis. Arranged by John A. Dempsey. Score, Set of Parts. 18 pages. Published by …
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By Vangelis. Arranged by John A. Dempsey. Score, Set of Parts. 18 pages. Published by John A. Dempsey
An exhilarating, inspiring trio for flute, violin and piano, this epic, Oscar-winning music by Vangelis (from the feature film CHARIOTS OF FIRE) is recommended for concerts, recitals and other multiple venues. 14 pages of music (that includes separate two-page pullout parts for flute and violin). Key: C major.
$12.99
12 €
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Flûte, Violon, Piano
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Vangelis
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John A
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Chariots Of Fire
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John A. Dempsey
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SheetMusicPlus
Chariots Of Fire (Trio for Two Trumpets and Piano)
2 Trompettes, Clavier (piano ou orgue)
Trumpet 1, Trumpet 2, Piano - Pop, New Age, Ambient, Movie Soundtrack, Recital - Int…
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Trumpet 1, Trumpet 2, Piano - Pop, New Age, Ambient, Movie Soundtrack, Recital - Intermediate - Digital Download By Vangelis. Arranged by John A. Dempsey. Score, Set of Parts. 18 pages. Published by John A. Dempsey
An exhilarating trio for two Bb trumpets and piano, this epic, Oscar-winning music by Vangelis (from the feature film CHARIOTS OF FIRE) is recommended for concerts, recitals and other multiple venues. 14 pages of music (that includes separate two-page pullout parts for each trumpet). Concert Key (Piano): C major. Trumpet Key: D major.
$12.99
12 €
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2 Trompettes, Clavier (piano ou orgue)
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Vangelis
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John A
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Chariots Of Fire
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John A. Dempsey
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SheetMusicPlus
What Child Is This? A Collection of Christmas Carols for Solo Piano by Michael Ware
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Michael…
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Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Michael Ware. Contemporary Classical, Christian, Sacred, Celtic, Christmas. Score, Solo Part. 30 pages. Published by MusicWare Press
What Child Is This? is a dynamic collection of seven familiar Christmas carols creatively arranged for solo piano by Michael Ware. Express the joy of the season with bursts of rhythmic energy and intimate, quiet moments. These arrangements are sure to please in a worship or concert setting.<br> <br> Collection includes:<br> <br> Christmas Angel Medley (Angels We Have Heard on High with Hark! the Herald Angels Sing)<br> <br> What Child Is This? (Greensleeves)<br> <br> On Christmas Day in the Morning (I Saw Three Ships with Good Christian Men, Rejoice)<br> <br> O Come, O Come, Emmanuel<br> <br> Still, Still, Still<br> <br> Sing We Now of Christmas<br> <br> Silent Night<br> <br> <br> <br> YouTube video includes full recordings of all seven carols as performed by the arranger.
$19.99
18.47 €
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Piano seul
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Various
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What Child Is This? A Collection of Christmas Carols for Solo Piano by Michael Ware
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MusicWare Press
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SheetMusicPlus
An American in Valencia - Trumpet Solo with Band (piano reduction)
Trompette, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Rep…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Repertoire, Recital. Piano Reduction, Solo Part. 39 pages. Published by Musica Nova USA
An American in Valencia was commissioned by the United States Army Band “Pershing’s Own” in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L’Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.<br> <br> The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit’s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.<br> <br> An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.48 €
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Trompette, Piano
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Gregory Fritze
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An American in Valencia - Trumpet Solo with Band
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Musica Nova USA
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SheetMusicPlus
PIANO PUR
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Rainer Fabich. 21st Century,…
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Piano Solo - Intermediate - Digital Download Composed by Rainer Fabich. 21st Century, Romantic Period, Contemporary Classical, Impressionistic, Post-Romantic. Individual Part, Score. 80 pages. Published by Fajora Music
Orginal scores from the Rainer Fabich`s CD PIANO PUR played by Michaela Puehn.<br> Piano solo, 80 pages.<br> <br> About the music:<br> In Piano Scenes musical associations are reflected, strung together in a loose sequence of imaginary pictures, such as Water Visions, Waves, Fallen Angel. Images of abstract, musical style (Gradus Ad Parnassum and Homage To Satie) refer in an idealistic way to musical precursors of piano literature.<br> In the very emotional Four Nocturnes there are both exuberant and flirtatious moments, such as the night walk of a lady (Promenade D `une Dame) and Valse Pour ... Thoughtful and sometimes brooding moods sound in Songes De La Nuit (Night Thoughts ) and Une Illusion.<br> The sonic world of Latin America appears in the Imprésiones Latinas. Short snapshots characterize the typical, playful pride and charm of female sex in Cuba (Habañera) or they evoke the untamed vitality of Brazil (Impresión Brasiliana).<br> In addition to the new compositions for piano, the music edition also includes a commissioned composition for Bavarian Television, Piano Reflections and excerpts from a film score for the short film Queen of the Night (directed by Hans Lang, HFF 1996, actors and others by Juliane Köhler). In the dance of puppets, Mozart's famous aria sounds like something from the distant world, slightly alienated.<br> All pieces of the CD Rainer Fabich - Piano Pur, were recorded on a Steinway grand piano (D) in 2005 by the Munich concert pianist Prof. Michaela Puehn in the Great Concert Hall of the Academy of Music and Theater, Munich. Recording, editing and mastering: Prof. Ulrich Kraus. The notes for the film music of the CD, Memoirs of a Frustrated Hedonist (ISBN: 9783737578295) have been published in an extra volume.<br> The first live premiere and American premiere of the two pieces Bulgarian Dance / Bulgarian Dance and Homage to Satie took place in 2018 (The National Opera Center, New York) by Tania Stavreva (piano).<br> Szenen für Klavier / Scenes for piano<br> <br> 01 Opener 1:18 
02 Visionen im Wasser – Water visions 2:33<br> 03 Wellen – Waves 2:43<br> 04 Fallen Angel 2:36 <br> 05 Gradus ad parnassum 2:09 <br> 06 Wiegenlied – Lullaby 2:41<br> 07 Bulgarischer Tanz – Bulgarian dance 2:02 <br> 08 Hommage an Satie – Hommage to Satie 2:31 <br> 09 Just an affair 4:33<br> <br> Vier Nocturnes / Four Nocturnes<br> <br> 10 Songes de la nuit – Night muses 2:18<br> 11 Valse pour … – Waltz for … 2:37<br> 12 Une illusion- An illusion 2:25<br> 13 Promenade d’une dame – Promenade of a lady 3:38<br> <br> Impresiónes latinas<br> <br> 14 Habanera 2:04<br> 15 Canción triste – Melancholic song 1:28<br> 16 Impresión brasiliana - Brasilian impression 2:23<br> <br> Filmmusik “König der Nacht” / Filmmusic “Queen of the night”<br> <br> 17 Tanz der Marionetten – Dance of the marionettes (Piano) 2:06<br> 18 Tanz der Marionetten – Dance of the marionettes (Celesta) 2:00<br> <br> Piano Pur<br> <br> 19 Piano reflections 3:16
$29.95
27.67 €
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Piano seul
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Rainer Fabich
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PIANO PUR
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Fajora Music
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SheetMusicPlus
Lo How a Rose E'er Blooming A Collection of Christmas Carols for Solo Piano by Michael Ware
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Michael…
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Piano Solo - Intermediate - Digital Download Composed by Various. Arranged by Michael Ware. Christian, Sacred, General Worship, Christmas, Recital. Score, Solo Part. 34 pages. Published by MusicWare Press
Lo, How a Rose E’er Blooming is a dynamic collection of seven familiar Christmas carols creatively arranged for solo piano by Michael Ware. Express the joy of the season with bursts of rhythmic energy and intimate, quiet moments. These arrangements are sure to please in a worship or concert setting.<br> <br> Collection Includes:<br> <br> Joy to the World! <br> <br> Lo, How a Rose E’er Blooming <br> <br> Angels from the Realms of Glory <br> <br> (with optional accompaniment track) <br> <br> Good Christian Men, Rejoice!<br> <br> O Holy Night <br> <br> Angels We Have Heard on High <br> <br> Carol of the Bells <br> <br> (with optional accompaniment track)<br> <br> Buying this collection provides you with a code to download the 2 accompaniment tracks from musicwarepress.com
$14.99
13.85 €
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Piano seul
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Various
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Lo How a Rose E'er Blooming A Collection of Christmas Carols for Solo Piano by Michael Ware
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MusicWare Press
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SheetMusicPlus
Cesar Franck : Messe à trois voix, Opus 12 - Panis angelicus (piano d'accompagnement)
Piano seul
Téléchargez la partition Piano Messe à trois voix, Opus 12 - Panis an…
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Téléchargez la partition Piano Messe à trois voix, Opus 12 - Panis angelicus (piano d'accompagnement) de Franck. Partition pour Piano d‘accompagnement -- Classique
2.99 €
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Piano seul
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Cesar Franck
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Messe à trois voix, Opus 12
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Tomplay
Angel of Peace. F.C.L. Grand March
Piano seul
Piano - Digital Download SKU: LV.6788 Composed by J. M. Fisher. National Emblems, E…
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Piano - Digital Download SKU: LV.6788 Composed by J. M. Fisher. National Emblems, Eagles, Flags. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.6788). Angel of Peace. F.C.L. Grand March. by J.M. Fisher. Published 1886 by Lee & Walker, 1113 Chestnut St. in Philadelphia. Composition of da capo with piano instrumentation. Subject headings for this piece include National Emblems, Eagles, Flags. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Piano seul
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J
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Angel of Peace. F.C.L. Grand March
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Because An Angel Told Me • LDS Vocal Solo for female voices
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1164759 Composed by C. Micha…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1164759 Composed by C. Michael Perry. Arranged by C. Michael Perry. Christian,Religious,Spiritual. Score. 9 pages. Shining Sharon Music #765093. Published by Shining Sharon Music (A0.1164759). Nephi saw a vision, one that supported exactly what his father, Lehi, saw. He asked in Faith and was rewarded for it. What he saw allowed him to testify of Christ and truth. He was witnessed by the Holy Ghost (The Angel of The Lord), and he could not –– would not deny it. (based on the scripture 1Nephi 11:13-33 in the Book of Mormon).
$4.50
4.16 €
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Piano, Voix
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C
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C
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Because An Angel Told Me • LDS Vocal Solo for female voices
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Shining Sharon Music
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SheetMusicPlus
Because An Angel Told Me • LDS Vocal Solo for male voices
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1164755 Composed by C. Micha…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1164755 Composed by C. Michael Perry. Arranged by C. Michael Perry. Christian,Religious,Spiritual. Score. 9 pages. Shining Sharon Music #765089. Published by Shining Sharon Music (A0.1164755). Nephi saw a vision, one that supported exactly what his father, Lehi, saw. He asked in Faith and was rewarded for it. What he saw allowed him to testify of Christ and truth. He was witnessed by the Holy Ghost (The Angel of The Lord), and he could not –– would not deny it. (based on the scripture 1Nephi 11:13-33 in the Book of Mormon).
$4.50
4.16 €
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Piano, Voix
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C
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C
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Because An Angel Told Me • LDS Vocal Solo for male voices
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Shining Sharon Music
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SheetMusicPlus
Angels from the Realms of Glory (solo piano)
Piano seul
Piano Solo, Piano with Accompaniment Track - Intermediate - Digital Download Compos…
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Piano Solo, Piano with Accompaniment Track - Intermediate - Digital Download Composed by Henry Smart. Arranged by Michael Ware. Christian, Contemporary Christian, Sacred, General Worship, Christmas. 4 pages. Published by MusicWare Press
Angels from the Realms of Glory is Michael Ware’s creative arrangement of the carol tune REGENT SQUARE. It dramatically captures the spirit of the season either as a stand alone piano solo or with the optional accompaniment track. Encourage those who listen to, “Come and worship Christ, the newborn King!”
$4.99
4.61 €
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Piano seul
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Henry Smart
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Michael Ware
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Angels from the Realms of Glory
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MusicWare Press
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SheetMusicPlus
Angels from the Realms of Glory
Orgue, Piano (duo)
Piano & Organ Duet - Advanced Intermediate - Digital Download Composed by Henry S…
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Piano & Organ Duet - Advanced Intermediate - Digital Download Composed by Henry Smart. Arranged by Michael Ware. Contemporary Classical, Sacred, General Worship, Christmas, Recital. 11 pages. Published by MusicWare Press
Angels from the Realms of Glory is Michael Ware’s festive arrangement of the Christmas carol REGENT SQUARE for piano and organ. With its creative, rich harmonies, keyboard instrumentalists everywhere will enjoy sharing the drama of the Christmas story this holiday season. Encourage listeners to “Come and worship the newborn King. Appropriate for worship, recital, or concert.<br> <br> YouTube: https://www.youtube.com/watch?v=Jf-sHiTZ_BU
$6.99
6.46 €
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Orgue, Piano (duo)
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Henry Smart
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Michael Ware
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Angels from the Realms of Glory
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MusicWare Press
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SheetMusicPlus
Angel of God (Combined piano/vocal and leadsheet/ congregational-worship aid versions)
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.832679 By Bill Hayes. By Bil…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.832679 By Bill Hayes. By Bill Hayes. Arranged by Bill Hayes. Children,Sacred,Spiritual. Score. 2 pages. Www.HayesMusicPublishing.com #6666223. Published by www.HayesMusicPublishing.com (A0.832679). Traditionl Catholic prayer of Angel of God set to original music.
$1.99
1.84 €
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Piano, Voix
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Bill Hayes
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Bill Hayes
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Angel of God
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www.HayesMusicPublishing.com
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SheetMusicPlus
Angels We Have Heard on High
1 Piano, 4 mains
Piano Duet, Four Hand Piano - Advanced Intermediate - Digital Download Composed by Tr…
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Piano Duet, Four Hand Piano - Advanced Intermediate - Digital Download Composed by Traditional French Carol. Arranged by Michael Ware. Christian, Sacred, General Worship, Christmas, Recital. 11 pages. Published by MusicWare Press
Angels We Have Heard on High is Michael Ware's exuberant Four Hand Piano arrangement of the well known French carol. Complete with an antiphonal introduction and a captivating use of mixed meter, this setting is sure to please at any celebration of the season.
$6.99
6.46 €
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1 Piano, 4 mains
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Traditional French Carol
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Michael Ware
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Angels We Have Heard on High
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MusicWare Press
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.16 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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