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Chromatic Variations
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--INSTRUMENTS--
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Vous avez sélectionné:
Chromatic Variations
Partitions à imprimer
99 partitions trouvées
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Chromatic Variations
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Flûte traversière
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AVANCÉ
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Panagiotis Theodossiou
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alto)
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Chromatic Variations
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Panagiotis Theodossiou
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SheetMusicPlus
Flute Solo - Level 5 - SKU: A0.886680 Composed by Panagiotis Theodossiou. Concert,Contemporary,Graduation,Standards. Individual part. 8 pages. Panagioti...
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Flute Solo - Level 5 - SKU: A0.886680 Composed by Panagiotis Theodossiou. Concert,Contemporary,Graduation,Standards. Individual part. 8 pages. Panagiotis Theodossiou #3120535. Published by Panagiotis Theodossiou (A0.886680). Chromatic Variations for two flutes (concert & alto). Written for the project Call for recording - Two Minutes for Two Flutes by Iwona Glinka and Ewa Liebchen for SARTON label. Based on symmetry of intervals, is a two minutes series of continuous variations with chromatic mouvement as dominant element.
$8.00 ≈
¥57.62
The Clarke Variations
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Trompette
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Contemporain
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Eric Bolvin
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Eric Bolvin
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The Clarke Variations
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ERIC V BOLVIN
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SheetMusicPlus
Trumpet Solo - SKU: A0.829062 Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Publish...
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Trumpet Solo - SKU: A0.829062 Composed by Eric Bolvin. Arranged by Eric Bolvin. Contemporary. Individual part. 56 pages. ERIC V BOLVIN #3578765. Published by ERIC V BOLVIN (A0.829062). Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as the trumpet player’s bible. If that is the case, then the Clarke should be the new testament. I consider Herbert L. Clarke to be the George Washington of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.The impetus for this set of variations is based on the idea of an Expanding Scale or Expanding Range. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are holding one note and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95 ≈
¥122.09
Honey Bee March. Lev. 3. Variations
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Piano Facile
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DÉBUTANT
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Traditional Kids Song
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Music Fingers
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Honey Bee March. Lev. 3. Varia
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Music Fingers
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.948303 Composed by Traditional Kids Song. Arranged by Music Fingers. Children,Instructional,Standards. Score. 4 pages. Mu...
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Easy Piano - Level 1 - SKU: A0.948303 Composed by Traditional Kids Song. Arranged by Music Fingers. Children,Instructional,Standards. Score. 4 pages. Music Fingers #2963835. Published by Music Fingers (A0.948303). Chromatic steps and leaps on L.Hand. Original + 2 variations. Key G (So)+C (Do). 48 measures long. Arranged specially to develop R.H. variations using patterns and sequences.Designed for kids, good for adults. (rhythmic and melodic variations) Consider one year of training per level. (Lev. 3)Playing Variations will improve performance, music theory and brain functions.
$3.25 ≈
¥23.41
Variations on a theme of "Hänschen klein"(Lightly Row)
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Piano seul
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INTERMÉDIAIRE
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Chiao-Han Liao
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Variations on a theme of "
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Diau-Hua Lim ,æž—è‚‡è¯ ,故鄉åæ›²æ¨‚èœ ,Homeland Famous Music Scores
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1319041 By Chiao-Han Liao. By German children song. Arranged by Diau-Hua Lim 林肇è¯. Chamber,Children,Clas...
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Piano Solo - Level 3 - SKU: A0.1319041 By Chiao-Han Liao. By German children song. Arranged by Diau-Hua Lim 林肇è¯. Chamber,Children,Classical,Traditional. Score. 8 pages. Diau-Hua Lim ,æž—è‚‡è¯ ,故鄉åæ›²æ¨‚èœ ,Homeland Famous Music Scores #907637. Published by Diau-Hua Lim ,æž—è‚‡è¯ ,故鄉åæ›²æ¨‚èœ ,Homeland Famous Music Scores (A0.1319041). The piano piece, VARIATIONS ON A THEME OF HÄNSCHEN KLEIN for piano solo,is based on the melodic elements of German children song, Hänschen klein.It was arranged for piano variations by Diau-Hua Lim in 2010. The children song is also known as Lightly Row in the States,The Butterfly in Japan and The Working Bee in Taiwan. The highly praised first performance of the piano piece was performed by the famous pianist Chiao-Han Liao at National Concert Hall in Taipei in 2010.There are four variations in the piece.In the first variation, the melody is performed by the left hand while the counter melody of tripletsis is played by the right hand.By changing the music to minor key,the second variation shows a mood of sentiment.The abunt harmony and chromatic descending passage create a fantastic feeling in the third variation.The fourth variation spreads cheerfulness with a speedy tempo.
$14.99 ≈
¥107.97
Chromatic Prelude in B major
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Piano seul
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AVANCÉ
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Christopher McWilliams
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Chromatic Prelude in B major
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Christopher McWilliams
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1008279 Composed by Christopher McWilliams. Baroque,Contemporary. Score. 6 pages. Christopher McWilliams #4632439. Publis...
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Piano Solo - Level 5 - SKU: A0.1008279 Composed by Christopher McWilliams. Baroque,Contemporary. Score. 6 pages. Christopher McWilliams #4632439. Published by Christopher McWilliams (A0.1008279). For the Prelude, I have incorporated variations of the iconic chord progression from Pachelbel's Canon in D major and took the liberty to quote three themes from other sources at three distinct points throughout. The first one marks the conclusion from the first movement of Vivaldi's Guitar Concerto in D major. The source for the second borrowed theme is unknown, and the third theme is derived from the song Somedays featured in Paul McCartney's 1997 album Flaming Pie. The main motive of the prelude is loosely based on a rhythmic figure found in a typical prelude by J.S. Bach. Although the harmony is largely diatonic, I have clearly marked key modulations that descend by chromatic steps during the episodes from B major to B major. .
$3.99 ≈
¥28.74
Variations
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Orgue
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INTERMÉDIAIRE
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Naji Hakim
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Variations
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Schott Music - Digital
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SheetMusicPlus
Organ - intermediate - SKU: S9.Q555044 On Freu dich sehr, o meine Seele. Composed by Naji Hakim. Downloadable. Duration 11 minutes. Schott Music ...
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Organ - intermediate - SKU: S9.Q555044 On Freu dich sehr, o meine Seele. Composed by Naji Hakim. Downloadable. Duration 11 minutes. Schott Music - Digital #Q555044. Published by Schott Music - Digital (S9.Q555044). English • German.These variations are based on the choral “Freu dich sehr, o meine Seeleâ€. Variation I, Maestoso, presents a solemn, canonic statement of the theme enveloped by dense, closely-knit harmonies. Variation II, Allegro, is clothed in polyphonic lines reminiscent of Bach’s “Orgelbüchlein†chorales. Variation III, Vivace, is a playful bicinium with the cantus firmus featured in the soprano line, as the bass bounces along in a staccato duet. Variation IV, Adagio, displays rich chromatic harmonies which form a lush backdrop for the pedal solo. Variation V, Vivace, features the chorale in detached left hand notes while the right hand and pedal provide a playful accompaniment. In Variation VI, Andante, the melody vacillates between minor and major keys as syncopated left hand chords and pizzicato bass accompany the cantilena. In the concluding Variation VII, Presto, the left hand proclaims the theme in block chords as the right hand provides an exuberant garland of sixteenth notes while the pedal provides rhythmic drive with tympanic accents.
$12.99 ≈
¥93.57
Variations on Morning has broken (Bunessan) for saxophone quartet
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Traditional
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David Warin Solomons
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Variations on Morning has brok
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David Warin Solomons
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.580808 Composed by Traditiona...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.580808 Composed by Traditional. Arranged by David Warin Solomons. 20th Century,Baroque,Christian. 9 pages. David Warin Solomons #6117183. Published by David Warin Solomons (A0.580808). This arrangement provides variations, cheeky chromatic inflections and a few Scottish snaps on the original Bunessan tune (mainly used for the hymn Morning has Broken).
$8.00 ≈
¥57.62
Chromatic Fugue
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Piano seul
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AVANCÉ
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Classique
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Henrietta Atkin
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Henrietta Atkin
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Chromatic Fugue
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Henrietta Atkin
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SheetMusicPlus
Piano - Level 5 - SKU: A0.1127668 By Henrietta Atkin. By Johann Pachelbel. Arranged by Henrietta Atkin. Baroque,Classical,Early Music. Full Performance....
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Piano - Level 5 - SKU: A0.1127668 By Henrietta Atkin. By Johann Pachelbel. Arranged by Henrietta Atkin. Baroque,Classical,Early Music. Full Performance. Duration 157. Henrietta Atkin #728270. Published by Henrietta Atkin (A0.1127668). Subtle and beautiful fugue from the Baroque era. Reminds one of the Goldberg Variations.
$50.00 ≈
¥360.15
Fantasie Variations on Mazurek Dabrowskiego
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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Fantasie Variations on Mazurek
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Sy Brandon
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.755042 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 23 pages. Sy Brandon #3249479. Publis...
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Alto Saxophone,Piano - Level 4 - SKU: A0.755042 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 23 pages. Sy Brandon #3249479. Published by Sy Brandon (A0.755042). Fantasie Variation on Mazurek Dabrowskiego was commissioned in 2010 by David Wozniak. Wozniak suggested using the Polish National Anthem as the basis of a composition that can serve as a fiery opener to a concert. After a short introduction, the anthem is stated using a repetitive rhythmic motif in the piano. Variation one is a minor variant that has a chromatic obligato in the saxophone on the repeat. After a two measure interlude in 4/4 that breaks up the 3/4 meter of the mazurka, Variation two begins. This variation uses motives from the anthem to create a new saxophone melody. Variation three changes meter often and is more technical and angular. A repeat of the minor variant brings the first fast section to a close. After a transition to a slower tempo, a mysterious variation with sudden outbursts occurs. It uses a lot of feminine endings that are characteristic of some Polish music. The tempo slows once again before variation seven which is a lyrical and romantic treatment of motives from the anthem. The final fast section begins with a rhythmic 5/8 variation that changes to 6/8 for the second part of the anthem’s structure. An ornamental version of the anthem with the mazurka rhythm returns at the end before a rousing coda brings the work to a close. This composition is recorded by David Wozniak and Krista Wallace-Boaz on the Emeritus label American Fusion CD.
$9.99 ≈
¥71.96
Variations on a theme
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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Winthrop Brookhouse
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Winthrop Brookhouse
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Variations on a theme
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winthrop brookhouse
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.980192 Composed by Winthrop Brookhouse. Arranged by Winthrop Brookhouse...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 3 - SKU: A0.980192 Composed by Winthrop Brookhouse. Arranged by Winthrop Brookhouse. Contemporary. Score and parts. 10 pages. Winthrop brookhouse #3399339. Published by winthrop brookhouse (A0.980192). A contemporary classical string ensemble. A chromatic melodic structure that swings between D flat and C major. Good melodic parts for all strings. The time 3:04 and is a nice piece for a recital or grouped with other pieces for concert. Member of BMI.
$3.99 ≈
¥28.74
Theme and Variations in C major for Piano
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Piano seul
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AVANCÉ
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James Mayhew
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Theme and Variations in C majo
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James Mayhew
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.996522 Composed by James Mayhew. Classical,Contemporary,Romantic Period. Score. 7 pages. James Mayhew #6234441. Published...
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Piano Solo - Level 5 - SKU: A0.996522 Composed by James Mayhew. Classical,Contemporary,Romantic Period. Score. 7 pages. James Mayhew #6234441. Published by James Mayhew (A0.996522). This is a set of 8 variations on a theme in C major, which begin as Classical sounding variations on the Mozartian theme, Nos 1 and 2 of which sound quite like short Czerny studies, before a variation of many repeated notes embedded in broken chord figurations, until a frantic ending disrupts the traditional Classical harmony with plenty of chromaticism and a slightly bluesy ending. The next variation is in 12/8 with a lilting feel, while the 6th variations is a C minor one which begins in a stately march feel before merging into freer, slightly jazzier material. Variation 7 returns to C major for a jolly outburst while the finale that is Variation 8 pours cascades of chords and gymnastical passages all over the place (including a black-key octave glissando in the right hand with a white-key gliss in the left at the same time), with an unexpected ending.
$4.99 ≈
¥35.94
Four variations on "Now the Day is Over"
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Joshua Dawson
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Four variations on "Now t
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Joshua Dawson
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1029545 Composed by Joshua Dawson. Contemporary,Praise & Worship. Score. 9 pages. Joshua Dawson #5030499. Published by Jo...
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Piano Solo - Level 4 - SKU: A0.1029545 Composed by Joshua Dawson. Contemporary,Praise & Worship. Score. 9 pages. Joshua Dawson #5030499. Published by Joshua Dawson (A0.1029545). Four harmonically luscious piano variations composed in 2018 on the hymn Now the Day is Over by Sabine Baring-Gould (1834-1924).Motifs from this simple, eight-bar hymn are manipulated and integrated throughout the variations. Each variation is essentially tonal, with some chromaticism and modality, and preserves the original harmonic structure of the theme. The final variation ventures further. The piece is not outwardly challenging or virtuosic, but does contain some complex voicing issues and innovative piano writing, both of which will require a thoughtful, sensitive pianistic touch.Duration c. 5 minutes.
$2.99 ≈
¥21.54
Variations on St. Christopher ('Beneath the Cross of Jesus')
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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John Burkett
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John Burkett
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Variations on St. Christopher
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John Burkett
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SheetMusicPlus
Organ - Level 4 - SKU: A0.1366923 Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Praise & Worship,Sacred. Score. 16 pages. J...
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Organ - Level 4 - SKU: A0.1366923 Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Praise & Worship,Sacred. Score. 16 pages. John Burkett #951258. Published by John Burkett (A0.1366923). My Variations on St. Christopher (Beneath the Cross of Jesus) require a wide range of technical prowess from relatively easy (Variation II) to advanced (Variation VII). The Theme presents the unadorned hymn tune with an original 4-part harmonization. Variation I is another 4-part setting but with a more rhythmically active acompaniment in the lower voices. Variation II, a duo for the hands alone, is in the dominant key where the tune is accompanied by an unrelenting stream of triplets. Variation III is a 3-voice canon in which the tenor and pedal bass imitate the soprano, though with a certain amount of intervallic freedom. Variation IV is a trio in which the middle voice presents an ornamented version of the hymn tune. Variation V is a brief fughetta, while Variation VI presents the tune in the pedals against quietly undulating triplets in the hands. The final variation (entitled Introduction and Fugal Fantasy) is by far the most challenging and employs considerable chromaticism toward the end. I have provided a full-length recording to aid the prospective buyer in the decision-making process. I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangememts of mine, some for organ and others for piano.
$19.00 ≈
¥136.86
Heidenröslein: Variations on a Theme by Franz Schubert
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Classique
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroq...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00 ≈
¥144.06
Variations on a Waltz by Schubert
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Piano seul
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AVANCÉ
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Igor Korneitchouk
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Variations on a Waltz by Schub
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Studio at the Post
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1287774 Composed by Igor Korneitchouk. 20th Century,Classical,Contemporary,Romantic Period. Score. 5 pages. Studio at the...
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Piano Solo - Level 5 - SKU: A0.1287774 Composed by Igor Korneitchouk. 20th Century,Classical,Contemporary,Romantic Period. Score. 5 pages. Studio at the Post #878858. Published by Studio at the Post (A0.1287774). Duration: 7 - 8 minutes, 4 pp. Description: A set of three variations on a well-known waltz from Schubert's many waltzes dragged through the Messiaenic chromaticism of the 20th century.
$2.01 ≈
¥14.48
The Clarke Variations-bass clef edition
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Bass Clef Instruments
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Clarke Variations-bass cle
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Faded Duck Music
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SheetMusicPlus
Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training...
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Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training. 55 pages. Published by Faded Duck Music
Most brass players are familiar with the ubiquitous Clarke?s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.
There are two essential books that just about every trumpet player has studied; Arban?s Conservatory Method and Clarke?s Technical Studies. The Arban is fondly referred to as ?the trumpet player?s bible?. If that is the case, then the Clarke should be ?the new testament?. I consider Herbert L. Clarke to be the ?George Washington? of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country?s first great virtuosos.
The impetus for this set of variations is based on the idea of an ?Expanding Scale? or ?Expanding Range?. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are ?holding one note? and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.
This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I?ve also included more chromatic work based on Studies 7 & 8.
$16.95 ≈
¥122.09
Weekend Sonatina
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Joshua Allen
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Weekend Sonatina
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Joshua Allen Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.941029 Composed by Joshua Allen. Contemporary. Score. 5 pages. Joshua Allen Music #3491375. Published by Joshua Allen Mus...
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Piano Solo - Level 4 - SKU: A0.941029 Composed by Joshua Allen. Contemporary. Score. 5 pages. Joshua Allen Music #3491375. Published by Joshua Allen Music (A0.941029). Weekend Sonatina for solo piano features two movements: I. Saturday and II. Sunday.I. Saturday is light and frolicking, the beginning of the weekend where exciting possibilities await. Contrasts in staccato and legato contrast the two primary themes of this small sonata form movement. A brief Beethoven-esque development leads to a recapitulation and a light-hearted conclusion.II. Sunday features a leisurely descending chromatic theme in the left hand against a simple, pensive melody in the right. After an accompanimental variation of the theme and a brief inversion of the chromatic line against a secondary theme, the piece draws to a close and the listener can hear the sun setting as the weekend slowly ends.From start to finish, Weekend Sonatina is close to 4 minutes in length. Each movement can stand alone or be performed together. The chromaticism in the left hand, stylistic variations, and ranges covered in each hand make this piece suitable for the advancing intermediate to advanced student.
$3.50 ≈
¥25.21
Chorale Prelude on O filii et filiae (O sons and daughters, let us sing)
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Orgue
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Musique Sacrée
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Chris Kovarik
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Chorale Prelude on O filii et
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Chris Kovarik
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SheetMusicPlus
Instrumental Solo,Organ - SKU: A0.1372224 Composed by Chris Kovarik. Classical,Easter,Praise & Worship,Sacred. Individual part. 10 pages. Chris Kovarik ...
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Instrumental Solo,Organ - SKU: A0.1372224 Composed by Chris Kovarik. Classical,Easter,Praise & Worship,Sacred. Individual part. 10 pages. Chris Kovarik #956488. Published by Chris Kovarik (A0.1372224). O filii et filiae (composed 2017, duration ca. 5’) is a set of short variations. The variations explore sounds, textures, styles, and techniques of different organ traditions, from the German Baroque to early twentieth-century French. Harmonically, too, the variations cover a wide range, from fully diatonic to heavily chromatic. After the last variation is an extended finale, which presents the hymn tune, in augmentation, in canon between bass and soprano while the other voices provide dense counterpoint in between. The piece concludes with a blistering pedal solo under a series of unexpected and pungent chords. This is a work that strives to inspire awe and wonder.Technical note: the variety of textures and styles in this piece requires a well-rounded technique. Likewise the variety of sounds and styles will be better served by a larger instrument.
$4.99 ≈
¥35.94
Passacaglia in C (piano duet)
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1 Piano, 4 mains
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AVANCÉ
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John Pitts
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Passacaglia in C
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Intensely Pleasant Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012. The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes). Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨ - F G - D E¨ - B C - F G - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.
$9.99 ≈
¥71.96
Passacaglia in C (Organ)
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Orgue
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AVANCÉ
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John Pitts
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Passacaglia in C
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Intensely Pleasant Music
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SheetMusicPlus
Organ - Level 5 - SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Publ...
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Organ - Level 5 - SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012. The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes). Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨ - F G - D E¨ - B C - F G - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.
$7.99 ≈
¥57.55
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
¥1512.63
Introspection 2
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Piano seul
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Contemporain
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Eric Paul Nolte
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Introspection 2
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Eric Paul Nolte
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SheetMusicPlus
Piano Solo - SKU: A0.987082 Composed by Eric Paul Nolte. Contemporary. Score. 14 pages. Eric Paul Nolte #1551123. Published by Eric Paul Nolte (A0.98708...
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Piano Solo - SKU: A0.987082 Composed by Eric Paul Nolte. Contemporary. Score. 14 pages. Eric Paul Nolte #1551123. Published by Eric Paul Nolte (A0.987082). This second piece in my series of Introspections is a sort of passacaglia. It is a dramatic but lyrical piece in triple meter that features a kind of ground bass of chromatic harmony, with melodic variations above it. This much-varied ostinato is introduced emphatically in the opening statement, is developed throughout, and closes the piece, transfigured. In my introduction to this piece, I offer some technical advice for the intermediate advanced pianists, for whom the piece is written, on how to play to hard passages, particularly the fast scales. This piece is not for beginners, but neither is it nearly as difficult as any of the harder etudes by Chopin. Moreover, much of it is easy and, I should hope, gratifying to play. While the harmony of this piece is chromatic and spiky, it is tonal, melodic, and, all said, I give you this one with my most conscientious effort not to make your ears bleed, or leave you baffled or suffering from musical vertigo. The performing time time is about seven minutes.
$3.99 ≈
¥28.74
Divertimento for Saxophone Quartet
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Quatuor de Saxophones: 4 saxophones
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AVANCÉ
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Contemporain
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Sy Brandon
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Divertimento for Saxophone Qua
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Sy Brandon
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble - Level 5 - SKU: A0.755222 Composed by Sy Brandon. 20th Century,Contemporary. 95 pages. Sy Brandon #3418983. Publish...
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Saxophone Quartet,Woodwind Ensemble - Level 5 - SKU: A0.755222 Composed by Sy Brandon. 20th Century,Contemporary. 95 pages. Sy Brandon #3418983. Published by Sy Brandon (A0.755222). Divertimento is in three movements. The first movement Frolic has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic. The second movement Ballad is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines. All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently. The last movement Tarantella is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$14.99 ≈
¥107.97
Divertimento for Woodwind Quartet
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Flûte, Hautbois, Clarinette, Basson
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AVANCÉ
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Contemporain
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Sy Brandon
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Divertimento for Woodwind Quar
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Sy Brandon
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - SKU: A0.755218 Composed by Sy Brandon. 20th Century,Contemporary. 93 pages. S...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - SKU: A0.755218 Composed by Sy Brandon. 20th Century,Contemporary. 93 pages. Sy Brandon #3418979. Published by Sy Brandon (A0.755218). Divertimento is in three movements. The first movement Frolic has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic. The second movement Ballad is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines. All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently. The last movement Tarantella is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$14.99 ≈
¥107.97
Divertimento
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Sy Brandon
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Divertimento
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Imagine Music - Digital
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SheetMusicPlus
Oboe, clarinet, bassoon - SKU: IZ.BCMS171 Composed by Sy Brandon. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 69 pages. Imag...
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Oboe, clarinet, bassoon - SKU: IZ.BCMS171 Composed by Sy Brandon. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 69 pages. Imagine Music - Digital #BCMS171. Published by Imagine Music - Digital (IZ.BCMS171). 9 x 12 in inches.Divertimento is in three movements. The first movement, Frolic, has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic.The second movement, Ballad, is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines.All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently.The last movement, Tarantella, is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$32.00 ≈
¥230.50
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Chromatic Variations
