Page d'accueil
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Ite In Pace
Non classifié
219
Piano & claviers
Piano seul
150
Piano Facile
61
Piano, Voix
42
Piano, Voix et Guitare
13
2 Pianos, 4 mains
12
Piano Trio: piano, violon, violoncelle
11
Orgue
10
Piano (partie séparée)
6
Instruments en Do
4
1 Piano, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Accompagnement Piano
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 9 instrumentations
Retracter
Guitares
Guitare
11
Guitare (partie séparée)
10
Guitare notes et tablatures
8
2 Guitares (duo)
3
Ukulele
3
3 Guitares (trio)
1
Ensemble de guitares
1
Basse electrique
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
89
Chorale 3 parties
15
Chorale 2 parties
9
Voix seule
8
Chorale Unison
6
Chorale TTBB
5
Chorale SSAA
4
Voix duo, Piano
2
Soli, choeur mixte et accompagnement
1
Chorale SSAATTBB
1
Chorale SSATTB
1
+ 6 instrumentations
Retracter
Vents
Flûte traversière et Piano
35
Saxophone (partie séparée)
31
Clarinette et Piano
30
Hautbois, Piano (duo)
26
Flûte, Hautbois, Clarinette, Basson
25
2 Flûtes traversières, Piano
25
Quatuor de Saxophones: 4 saxophones
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Saxophone Alto et Piano
12
Quatuor de Flûtes : 4 flûtes
7
Saxophone Soprano et Piano
7
2 Clarinettes (duo)
6
Quintette de Saxophone: 5 saxophones
6
Cor anglais, Piano
6
Ensemble de Clarinettes
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Alto
5
2 Saxophones (duo)
5
Ensemble de Flûtes
5
Saxophone Tenor et Piano
5
2 Flûtes traversières (duo)
4
Flûte traversière
3
Saxophone, Clarinette (duo)
3
Clarinette (partie séparée)
3
Flûte et Guitare
3
Hautbois (partie séparée)
3
Flute (partie séparée)
3
Flûte à bec Soprano
2
Clarinette, Trompette (duo)
2
Saxophone Tenor
2
Clarinette, Violon (duo)
2
Quintette de Flûte : 5 flûtes
2
Trio de Flûtes: 3 flûtes
2
Saxophone Baryton, Piano
2
Clarinette
2
Clarinette Basse, Piano
2
Piccolo, Piano
1
Flûte, Trompette (duo)
1
2 Hautbois (duo)
1
Flûte, Violon
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Clarinette (duo)
1
Piccolo
1
Flûte, Violon, Piano
1
Clarinette et Alto
1
Hautbois, Flûte
1
Flûte, Saxophone (duo)
1
Saxophone et Guitare
1
Ensemble de saxophones
1
Quatuor de Flûtes à bec
1
Flûte, Trombone (duo)
1
Flûte, Clarinette et Basson
1
Hautbois, Basson (duo)
1
Hautbois, Clarinette (duo)
1
Hautbois, Guitare (duo)
1
Flûte, Clarinette, Piano (trio)
1
+ 51 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
29
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
27
Trompette (partie séparée)
24
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Trombone et Piano
11
Trompette, Piano
11
Cor et Piano
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Cor anglais, Piano
6
Trompette
5
Tuba et Piano
4
Cor (partie séparée)
3
Euphonium, Piano (duo)
3
Cor
3
Trompette, Trombone (duo)
3
Ensemble de Trombones
2
Tuba (partie séparée)
2
Trompette, Saxophone (duo)
2
Ensemble de Trompettes
2
2 Trompettes (duo)
2
Quatuor de Cuivres
2
Quatuor de cuivres: 4 trompettes
1
Trombone
1
Quatuor de cuivres: 4 trombones
1
2 Trombones (duo)
1
+ 20 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
46
Violon et Piano
41
Violoncelle, Piano
30
Alto, Piano
25
Violon
13
Contrebasse (partie séparée)
8
Violon, Violoncelle (duo)
7
Trio à Cordes: violon, alto, violoncelle
7
Contrebasse, Piano (duo)
6
Contre Basse
4
Alto seul
4
Violon (partie séparée)
4
2 Violoncelles (duo)
3
Violoncelle
3
Ensemble de Violons
2
2 Altos (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Quatuor à cordes : 4 altos
1
Violoncelle, Contrebasse (duo)
1
2 Violons (duo)
1
Flûte, Contrebasse (duo)
1
3 Harpes
1
Trio à Cordes: 2 violons, alto
1
2 Harpes (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe
1
Violon, Alto (duo)
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
121
Orchestre à Cordes
57
Ensemble Jazz
46
Orchestre
21
Orchestre de chambre
7
Ensemble de cuivres
6
Cloches
6
Percussion (partie séparée)
5
Batterie (partie séparée)
5
Jazz combo
4
Fanfare
3
Batterie
2
Ensemble de Percussions
2
Piano et Orchestre
1
Vibraphone
1
+ 10 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
$
$
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
320
Partitions Numériques
1 750
Librairie Musicale
2 159
Matériel de Musique
1 913
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Ite In Pace
Partitions à imprimer
1 750 partitions trouvées
<
1
26
51
....
1726
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
#
2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
CURVE, Between the Octaves - A
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
(+)
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
#
2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
SURRENDER, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
(+)
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
IGNITE, Between the Octaves -
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. P...
(+)
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
dislocation I mean a degree of
#
Jenni Roditi
#
RITUALISE, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
(+)
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
#
2 Pianos, 4 mains
#
AVANCÉ
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
INITIATE, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
(+)
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
#
2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
THREAD, Between the Octaves A
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
(+)
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
ENCIRCLE, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
(+)
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00 ≈
$27.83
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - SOPRANO
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - SOPRANO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - SOPRANO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - BASSE
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - BASSE de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - BASSE de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche de Cimarosa Domenico. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche de Cimarosa Domenico. Partition pour Avec piano d'accompagnement -- Classique
1.99€ ≈
$3.01
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - TENOR
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - TENOR de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - TENOR de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - MEZZO-SOPRANO
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - MEZZO-SOPRANO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - MEZZO-SOPRANO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - BARYTON
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - BARYTON de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - BARYTON de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Domenico Cimarosa : Resta in pace, idolo mio - Arie Antiche - ALTO
#
Voix seule
#
INTERMÉDIAIRE
#
Classique
#
Domenico Cimarosa
#
Resta in pace, idolo mio
#
Tomplay
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - ALTO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique...
(+)
Telechargez la partition Chant Resta in pace, idolo mio - Arie Antiche - ALTO de Cimarosa. Partition pour Avec piano d'accompagnement -- Classique
5.99€ ≈
$9.07
Lord, Guard and Guide the Men Who Fly (The United States Air Force Hymn)
#
Chorale SATB
#
DÉBUTANT
#
Mary Hamilton and Wolfgang Ama
#
James F
#
Lord, Guard and Guide the Men
#
Military Bible Association
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 1 - SKU: A0.1465872 Composed by Mary Hamilton and Wolfgang Amadeus Mozart (altered by James F. Linzey). Arranged...
(+)
Choral Choir,Choral,SATB Chorus - Level 1 - SKU: A0.1465872 Composed by Mary Hamilton and Wolfgang Amadeus Mozart (altered by James F. Linzey). Arranged by James F. Linzey. Classical,Historic,Patriotic,Religious,Sacred. 4 pages. Military Bible Association #1044469. Published by Military Bible Association (A0.1465872). History of the United States Air Force and the Air Force HymnOn September 18, 1947, the National Security Act of 1947 created the National Military Establishment and the United States Air Force. The National Military Establishment later became the Department of Defense. The Air Force was part of the Army Air Corps since August 1, 1907. It had the oversight of military aviation for land-based operations. The organizational development of the Air Force is as follows: Aeronautical Division, Signal Corps (1 August 1907 – 18 July 1914), Aviation Section, Signal Corps (18 July 1914 – 20 May 1918), Division of Military Aeronautics (20 May 1918 – 24 May 1918), Air Service, U.S. Army (24 May 1918 – 2 July 1926), U.S. Army Air Corps (2 July 1926 – 20 June 1941), the U.S. Army Air Forces (20 June 1941 – 17 September 1947), and the United States Air Force, 18 September 1947 – present), and the separation of the United States Air Force Space Command as the United States Space Force (20 December 2019 – present). The Air Force has been involved in World War 1, World War II, the Cold War and the Korean conflict, the Vietnam conflict, combat operations such as Operation Eagle Claw, the invasion of Grenada (1983), the bombing of Libya (1986), the invasion of Panama (1989), Operation Desert Storm, the Gulf War, Bosnia and Kosovo, the Global War on Terror, Operation Enduring Freedom, and Operation Iraqi Freedom.Mary Christian Dundas Hamilton (24 May 1850 - 10 June 1943) was a Scottish writer and poet. She is known for writing “A Hymn for Aviators” (1915). It was known as “Lord, Guard and Guide the Men Who Fly,” and also as the United States Air Force Hymn. It was set to Mozart's “Dona Nobis Pacem,” a waltz. Various phrases and verses were used in the United States Navy Hymn, “Eternal Father, Strong to Save,” and alluded to in the United States Space Force Hymn, “Creator of the Universe.” Former Air Force Chaplain and Officer, theologian and hymnist, Major James F. Linzey (Ret.), believed that military hymns should not be waltzes. So he converted the timing of Mozart’s piece to four-four timing, giving the Air Force Hymn traditional timing that is fit for a hymn. James Linzey is the General Editor of the New Tyndale Version (NTV) Bible translation.
$1.99 ≈
$2.77
One in Charity, sacred music for SATB choir
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Musique Sacrée
#
Kevin G
#
I feel my flesh consumed
#
One in Charity, sacred music f
#
Kevin G. Pace
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 4 - SKU: A0.1416395 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religiou...
(+)
Choral Choir,Choral,SATB Chorus - Level 4 - SKU: A0.1416395 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 9 pages. Kevin G. Pace #998076. Published by Kevin G. Pace (A0.1416395). An epically beautiful choral composition.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Text:Although I bestow all my goods to feed the poor and lone, Without the gift of charity, I will never own the right of oneness to be sealed to Father up above, And with my Savior, Jesus Christ, unite in perfect love.Until God distills purity, giv'n through the Holy Ghost, I'll pray with all my energy for this inner Host. Then to this Spirit I will cleave so God can live in me, And so be clothed with purest love... beloved charity. My holy conferral to love each fellowman I see comes as a gift from God above, for He first loved me. And now I'm filled with pain and more, with sorrow and with tears, All for the welfare of lost souls. I feel my Savior near.Sweet oneness within fills my heart; I feel my flesh consumed. An entity has swelled my soul and entered to bloom. For others, now, true charity can manifest my love, All given from the grace of Christ, and Father up above. bove.Chorus:Charity for humankind is my gift with love divine. One in love and one in grace promises Christ's sacred face.
$1.99 ≈
$2.77
One in Charity, a sacred hymn
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Musique Sacrée
#
Kevin G
#
I feel my flesh consumed
#
One in Charity, a sacred hymn
#
Kevin G. Pace
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1294654 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sac...
(+)
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1294654 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #885008. Published by Kevin G. Pace (A0.1294654). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text:Although I bestow all my goods to feed the poor and lone, Without the gift of charity, I will never own the right of oneness to be sealed to Father up above, And with my Savior, Jesus Christ, unite in perfect love.Until God distills purity, giv'n through the Holy Ghost, I'll pray with all my energy for this inner Host. Then to this Spirit I will cleave so God can live in me, And so be clothed with purest love... beloved charity. My holy conferral to love each fellowman I see comes as a gift from God above, for He first loved me. And now I'm filled with pain and more, with sorrow and with tears, All for the welfare of lost souls. I feel my Savior near.Sweet oneness within fills my heart; I feel my flesh consumed. An entity has swelled my soul and entered to bloom. For others, now, true charity can manifest my love, All given from the grace of Christ, and Father up above. bove.Chorus:Charity for humankind is my gift with love divine. One in love and one in grace promises Christ's sacred face.
$1.99 ≈
$2.77
Bach - Air From Suite in D Major - Level E - (Key Map Tablature)
#
Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
John M
#
Bach - Air From Suite in D Maj
#
Music Innovators Workshop
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.984692 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque. Score. 6 pages. Music Innovators Worksh...
(+)
Piano Solo - Level 4 - SKU: A0.984692 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque. Score. 6 pages. Music Innovators Workshop #4356269. Published by Music Innovators Workshop (A0.984692). This piece is hard to beat. It's one of my all-time favorites. And I love to see the patterns that it makes on the page. 6 Pages.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.
$2.00 ≈
$2.78
Badinerie (EASY PIANO) Orchestral Suite No. 2 in B Minor [Johann Sebastian Bach]
#
Piano Facile
#
FACILE
#
Classique
#
Johann Sebastian Bach
#
Darek
#
Badinerie
#
Darek
#
SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.1261966 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music. Score. 3 pages. Darek #85505...
(+)
Easy Piano - Level 2 - SKU: A0.1261966 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music. Score. 3 pages. Darek #855051. Published by Darek (A0.1261966). Badinerie (EASY PIANO) Orchestral Suite No. 2 in B Minor [Johann Sebastian Bach]Simplified arrangement for pianists of Badinerie Orchestral Suite No. 2 in B Minor by Johann Sebastian Bach. Easy version for pianists | Easy piano arrangement. Included: Fingering, Dynamics, Articulations and video Youtube tutorial. Step into the lively world of Johann Sebastian Bach's Badinerie from the Orchestral Suite No. 2 in B Minor, now available in an easy-level piano sheet music arrangement for beginner pianists. Let the playful and spirited melodies of this beloved composition ignite your passion for music and transport you to the illustrious Baroque era. With my meticulously crafted sheet music, you will find yourself effortlessly navigating through the intricacies of this delightful piece. Each note is carefully accompanied by fingering suggestions, ensuring that your hands glide smoothly across the keys, bringing out the infectious energy of the music. Capture the essence of the composition with detailed articulation markings, guiding you to shape each phrase with precision and grace. Explore the full range of dynamics, as meticulously notated, allowing you to infuse the piece with the vibrant and expressive qualities it demands. As a valuable addition to this package, I have included a YouTube tutorial video that provides comprehensive guidance, tips, and demonstrations. This visual aid will empower you to master the intricacies of Badinerie at your own pace, ensuring a rewarding learning experience. Designed specifically for beginner pianists, this sheet music offers an accessible entry point into the enchanting world of Bach's compositions. Embrace the challenge, and revel in the satisfaction of conquering a piece from the renowned composer's repertoire. Join the community of aspiring pianists who have chosen to embark on this musical adventure. Whether you are a beginner yearning for an exciting new piece or an intermediate player seeking to expand your repertoire, this sheet music will undoubtedly captivate and inspire. Unleash your creativity and let the spirited rhythms of Badinerie fill your surroundings. Transport yourself to a bygone era while honing your skills as a pianist. Don't miss the opportunity to add this iconic composition to your repertoire and delight audiences with your captivating performance. Keywords: Badinerie, Orchestral Suite No. 2 in B Minor, Johann Sebastian Bach, piano sheet music, easy level, beginner pianists, fingering, articulation, dynamics, YouTube tutorial, Baroque era, music, pianists, composition, repertoire, musical adventure, playful melodies, spirited rhythms.
$3.00 ≈
$4.17
Infinity Suite for String Quartet
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Contemporain
#
Hector Vera
#
Infinity Suite for String Quar
#
Hector Vera
#
SheetMusicPlus
String Quartet String Quartet - SKU: A0.1026476 Composed by Hector Vera. 20th Century,Contemporary. Score and parts. 48 pages. Hector Vera #6137703. Pub...
(+)
String Quartet String Quartet - SKU: A0.1026476 Composed by Hector Vera. 20th Century,Contemporary. Score and parts. 48 pages. Hector Vera #6137703. Published by Hector Vera (A0.1026476). Programatic work for String Quartet that features extended string techniques including glissandos, harmonics and indeterminate notation. Two lovers are lost in Space after a mission failure as a result from spacecraft malfunction. The rest of the crew did not survive the ordeal. Their spacesuits will keep them alive for a while, but soon they will run out of oxygen and must say goodbye to each other. It is in these final moments that they will get to experience the journey of a lifetime, experiencing the complexity of the fabric of Time, traverse a Molecular Cloud and finally come to the somber realization that their journey is over as they float away into the endless Abyss.
$9.99 ≈
$13.90
Swiss Folk Dance for two flutes and piano – 17 Canton St. Gallen – Jupiter-Galopp
#
2 Flûtes traversières, Piano
#
INTERMÉDIAIRE/AVANCÉ
#
Helene Schulthess
#
Helene Schulthess
#
Swiss Folk Dance for two flute
#
Helene Schulthess
#
SheetMusicPlus
Flute Duet Flute - Level 4 - SKU: A0.1182888 By Helene Schulthess. By Helene Schulthess. Arranged by Helene Schulthess. Chamber,Contest,Festival,Folk,Pa...
(+)
Flute Duet Flute - Level 4 - SKU: A0.1182888 By Helene Schulthess. By Helene Schulthess. Arranged by Helene Schulthess. Chamber,Contest,Festival,Folk,Patriotic,Traditional. Score. 4 pages. Helene Schulthess #782636. Published by Helene Schulthess (A0.1182888). You can purchase all 26 folkdances for 30 $ under this link: https://www.sheetmusicplus.com/title/26-swiss-folk-dances-for-2-flutes-and-accompaniment-digital-sheet-music/21673528The document contents 26 folk dances for two flutes (49 pages) and a score (52 pages)Swiss folk music is very lively. Its diversity reflects the small regional and cultural spaces of Switzerland. Influences from other European countries have also shaped this kind of music since the early 19th century. Polka and Mazurka have their roots in Poland, the Scottish in Scotland. The music has been passed on by word of mouth or has been written down in musicians’ notebooks.Between 1940 and 1960, the ethnomusicologist Hanny Christen travelled through Switzerland and collected thousands of melodies from the period between 1800 and 1960. The musicians played or sang in front of her. Some permitted her to write off their own hand-written dance booklets in full. In 1956, Hanny Christen began to record this music with a tape recorder. It is thanks to her that over 12,000 instrumental dance movements of Switzerland and many other pieces of tradition (costumes, biographies, musical instruments etc.) were saved from being forgotten.The instruments used in traditional folk music vary depending on the type of dance and region. Flutes are more or less non-existent. The author would like to fill a gap with this publication. She has therefore adapted one folk dance per canton from the Hanny Christen-collection* for two flutes. The pieces from the cantons of Basel City, Thurgau and Geneva do not come from this source, though.The melodies from the other 23 cantons are taken unchanged from the collection. The second voice was not always composed quite traditional. The melody follows - if possible - a contrapuntal melody of its own and is directed to the flute (difficulty grade 3 +).The editor, Helene Schulthess, is a flutist with a wide repertoire. She lives in Switzerland. She performs as a soloist, makes chamber music and is active as a music teacher. She is involved in various musical projects (www.helene-schulthess.ch).* Swiss Folk Music Collection. The dance music of Switzerland of the 19th and first half of the 20th century. From the estate of Hanny Christen. Edited by Fabian Müller under the auspices of the Society for Folk Music in Switzerland (GVS/SMPS). Music print. Mülirad, Zürich 2002.
$6.00 ≈
$8.35
Andante in D Minor for Piano (Piano Tease)
#
Piano Facile
#
INTERMÉDIAIRE
#
Neil Boxall
#
Andante in D Minor for Piano
#
Neil Boxall
#
SheetMusicPlus
Easy Piano - Level 3 - SKU: A0.992805 Composed by Neil Boxall. Concert,Contemporary,Holiday. Score. 3 pages. Neil Boxall #3541063. Published by Neil Box...
(+)
Easy Piano - Level 3 - SKU: A0.992805 Composed by Neil Boxall. Concert,Contemporary,Holiday. Score. 3 pages. Neil Boxall #3541063. Published by Neil Boxall (A0.992805). An original and completely NEW piece for the piano, never before published. 2mins approx in length. Great for showmanship.This is a semi-classical and dynamically mildly challenging piece that can be played to entertain, as an interlude or prelude or for an impromptu performance. It’s also useful as a piece to test the range and performance of an unfamiliar piano. Could be used for music study, sight-reading or for a grade piece (if selected).It starts in the scale of D harmonic minor harmonic then surprises with a switch to D major and teases with a potential modulation to A major that never quite happens as the G sharp is stubbornly avoided. The piece uses virtually the whole span of the keyboard and so shows off some flying hands (and a couple of cross hands for good measure). The pedal is used for good effect though this should become intuitive.The piece has some time signature changes that are involved in the effect of the piece and there is some subtle syncopation linked into that. The tempo starts on Andante but gradually increases in pace finishing on Allegro in the coda that contains a couple of sets of flourishing semi-quavers that can be made to mimic demi semis depending on the actual tempo adopted.Being a very expressive piece, there is scope to vary the dynamics and tempo to explore expressive possibilities.The piece was first performed in public to pilgrims whilst on a Camino de Santiago Pilgrimage in 2013 before it was put into manuscript.
$19.99 ≈
$27.81
Bach - Air From Suite in D Major - Level D - (Key Map Tablature)
#
Piano seul
#
INTERMÉDIAIRE
#
Classique
#
Johann Sebastian Bach
#
John M
#
Bach - Air From Suite in D Maj
#
Music Innovators Workshop
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.984691 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque,World. Score. 6 pages. Music Innovators ...
(+)
Piano Solo - Level 3 - SKU: A0.984691 Composed by Johann Sebastian Bach. Arranged by John M. Honeycutt. Baroque,World. Score. 6 pages. Music Innovators Workshop #4356263. Published by Music Innovators Workshop (A0.984691). This piece has been somewhat simplified. The left hand part is less strenuous. 6 Pages.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.
$2.00 ≈
$2.78
Spaces 1
#
Piano seul
#
DÉBUTANT
#
Veronica Carmona Paz
#
Spaces 1
#
Veronica Carmona
#
SheetMusicPlus
Piano Solo - Level 1 - SKU: A0.1027293 Composed by Veronica Carmona Paz. Standards. Score. 1 pages. Veronica Carmona #2163273. Published by Veronica Car...
(+)
Piano Solo - Level 1 - SKU: A0.1027293 Composed by Veronica Carmona Paz. Standards. Score. 1 pages. Veronica Carmona #2163273. Published by Veronica Carmona (A0.1027293). For beginner students. Uses only notes in spaces.Right Hand is read using FACE. Left hand uses All Cows Eat Grass. It allows both hands to part away from Middle C position. Simple to play, easy to learn, great sound, becomes a favorite piece played by young students and enjoyed by parents.
$1.99 ≈
$2.77
Fly Me To The Moon (In Other Words)
#
Jazz
#
Tony Bennett
#
Richard Jones
#
and the rest is history
#
Fly Me To The Moon
#
Richard Jones
#
SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
(+)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.1488827 By Tony Bennett. By Bart Howard. Arranged by Richard Jones. Jazz,Standards. Brass Band. 28 pages. Richard Jones #1065680. Published by Richard Jones (A0.1488827). Not many pieces about space can also be said to have been played in space, but 'Fly Me to the Moon' can claim to be one of those. Originally entitled 'In Other Words', the song was written by Bart Howard in 1954 and dedicated to his partner of 58 years Thomas Fowler. Howard, a career musician and notable piano accompanist had collaborated with many other artists, including Cole Porter, but sadly had never gained individual acclaim. A publisher once suggested that his songs were too complex and when Howard was encouraged to write a simpler tune he produced Fly Me to the Moon in 20 minutes; and the rest is history.Notable artists have covered the song, including Tony Bennett, Peggy Lee, Paul Anka, Nancy Wilson, the pop band Westlife and transcribed into Urdu by the artist Alamgir. Howard estimated that before 1964 there had been over 100 versions of the song had been recorded. However, it was Frank Sinatra that made it a global success in 1964. With the legendary composer/arranger Quincy Jones and jazz icon Count Basie, Sinatra produced a sensationally swinging version of the song that captured listeners attention, and later NASA, who would use it on Apollo 10 and 11 missions. It was performed by Diana Krall at the 40th Anniversary of the landings and also, in a more somber setting, at the funeral of space legend Neil Armstrong.
$24.99 ≈
$34.77
<
1
26
51
....
1726
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Ite In Pace
